Full text of "Boston Symphony Orchestra concert programs, 2010-2011, Subscription, Volume 01, Season 130"

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BOSTON
SYMPHONY
i ORCHESTRA

mmm

2010-2011 SEASON

Opening Night At Symphony

October 2, 2010

James Levine Music Director
Bernard Haitink Conductor Emeritus
Seiji Ozawa Music Director Laureate

HERMES

PARIS

HERM&S, life as atale

Jypsiere" bags
in touhl/on C/emence

320 Boylston Street
(617) 482-8707

Welcome Back to Symphony Hall!

We are delighted to have you at Opening Night of the Boston Symphony Orchestra's
2010-11 season. It is a great pleasure to welcome Maestro James Levine back to the
podium tonight as he and our beloved Boston Symphony Orchestra kick off the 130th
season with an evening of extraordinary music-making. There is much to celebrate
tonight— and much to look forward to in the weeks and months ahead.

Tonight's all-Wagner program with the inestimable baritone Bryn Terfel is the perfect
beginning to a season that is filled with a multitude of splendid offerings. Mahler, Brahms,
Mozart, and Schumann are only a few of the composers featured this season, and guest
conductors include Sir Colin Davis, Rafael Fruhbeck de Burgos, Charles Dutoit, and Kurt
Masur. As always, appearing during the year with the BSO are a number of the world's
most remarkable guest soloists, including Pinchas Zukerman, Christian Tetzlaff, Maurizio
Pollini, and Evgeny Kissin. And in keeping with its ongoing commitment to further engage
listeners in the wonders of classical music, the BSO launches several new initiatives,
including digital seminars, this season.

Opening Night at Symphony is successful only when leadership is provided by a group
of dedicated individuals. In serving as chairs of the benefactor committee this year along
with our wives, Lis Tarlow and Megan O'Block, we can attest that this is true. The com-
mittee deserves our deepest thanks for their tireless work in helping to make this wonder-
ful celebration tonight possible.

We also salute the BSO's sponsors for their continuing generosity. UBS is now in its eighth
year as our season sponsor, and we are deeply grateful to them for their ongoing and vital
support— without which it simply would not be possible for the orchestra to function.

Please enjoy your evening tonight and return to Symphony Hall as often as possible dur-
ing the upcoming season. We are fortunate to have one of the greatest orchestras in the
world in our community— with a reach that extends to more than 17 million people each
year. Bring your family and friends with you— and help extend the BSO's magnificent
music-making even further.

A*ST CSH-J^r

Stephen B. Kay Robert P. O'Block

Co-Chairman Co-Chairman

Board of Trustees Board of Trustees

OPENING NIGHT WELCOME

JAMES LEVINE, MUSIC DIRECTOR

RAY AND MARIA STATA MUSIC DIRECTORSHIP, FULLY FUNDED IN PERPETUITY

BERNARD HAITINK, CONDUCTOR EMERITUS
LACROIX FAMILY FUND, FULLY FUNDED IN PERPETUITY

SEIJI OZAWA, MUSIC DIRECTOR LAUREATE

130th season, 2010-2011

TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, INC.

Stephen B. Kay and Robert P. O'Block, Co-Chairmen • Edmund Kelly, Chairman-Elect •

Paul Buttenwieser, Vice-Chairman • Diddy Cullinane, Vice-Chairman • Roger T. Servison, Vice-Chairman

Stephen R. Weber, Vice-Chairman • Vincent M. O'Reilly, Treasurer

William F. Achtmeyer • George D. Behrakis • Alan Bressler • Jan Brett • Samuel B. Bruskin •

Eric D. Collins • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Judy Moss Feingold, ex-officio

Nancy J. Fitzpatrick ■ Michael Gordon • Brent L. Henry • Charles H. Jenkins, Jr. • Joyce G. Linde ■

John M. Loder • Carmine A. Martignetti • Robert J. Mayer, M.D. • Nathan R. Miller •

Richard P. Morse • Aaron J. Nurick, ex-officio • Susan W. Paine • Carol Reich • Edward I. Rudman •

Arthur I. Segel • Thomas G. Sternberg • Theresa M. Stone • Caroline Taylor • Stephen R. Weiner •

Robert C. Winters

LIFE TRUSTEES

Vernon R. Alden ■ Harlan E. Anderson • David B. Arnold, Jr. • J. P. Barger • Leo L. Beranek •
Deborah Davis Berman • Peter A. Brooke • Helene R. Cahners • James F. Cleary • John F. Cogan, Jr. •
Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Mrs. John H. Fitzpatrick •
Dean W. Freed • Thelma E. Goldberg • Edna S. Kalman • George Krupp • Mrs. August R. Meyer •
Mrs. Robert B. Newman • William J. Poorvu • Irving W. Rabb • Peter C. Read • Richard A. Smith •
Ray Stata • John Hoyt Stookey • Wilmer J. Thomas, Jr. • John L. Thorndike • Dr. Nicholas T. Zervas

OTHER OFFICERS OF THE CORPORATION

Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer •
Suzanne Page, Clerk of the Board

BOARD OF OVERSEERS OF THE BOSTON SYMPHONY ORCHESTRA, INC.

Judy Moss Feingold, Chairman • Noubar Afeyan • David Altshuler • Diane M. Austin • Judith W. Barr
Lucille M. Batal • Linda J. L. Becker • Paul Berz ■ James L. Bildner • Mark G. Borden • Partha Bose •
Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne Burke • Ronald G. Casty •
Richard E. Cavanagh • Carol Feinberg Cohen • Susan Bredhoff Cohen • Richard F. Connolly, Jr. •
Charles L. Cooney • Ranny Cooper ■ James C. Curvey • Gene D. Dahmen • Jonathan G. Davis ■
Paul F. Deninger • Ronald F. Dixon ■ Ronald M. Druker • Alan Dynner • Philip J. Edmundson •
Ursula Ehret-Dichter • John P. Eustis II • Joseph F. Fallon • Thomas E. Faust, Jr. • Steven S. Fischman •
John F. Fish • Sanford Fisher • Robert Gallery • Robert P. Gittens • Carol Henderson •
Stuart Hirshfield • Susan Hockfield • Roger Hunt • William W. Hunt ■ Valerie Hyman •
Ernest Jacquet • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow •
Stephen R. Karp • Douglas A. Kingsley ■ Robert Kleinberg • John L. Klinck, Jr. • Farla H. Krentzman •
Peter E. Lacaillade • Charles Larkin • Robert J. Lepofsky ■ Nancy K. Lubin ■ Jay Marks •
Jeffrey E. Marshall • C. Ann Merrifield • Dr. Martin C. Mihm, Jr. • Robert Mnookin •

photos by Michael J. Lutch

Paul M. Montrone • Sandra 0. Moose • Robert J. Morrissey • J. Keith Motley, Ph.D. •

Cecile Higginson Murphy • Peter Palandjian • Vincent Panetta, Jr. • Joseph Patton • Ann M. Philbin ■

Wendy Philbrick • May H. Pierce • Claudio Pincus ■ Lina S. Plantilla, M.D. • Joyce L. Plotkin •

Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • John Reed •

Dr. Carmichael Roberts • Susan Rothenberg • Alan Rottenberg • Joseph D. Roxe • Kenan Sahin •

Donald L. Shapiro • Gilda Slifka • Christopher Smallhorn • Michael B. Sporn, M.D. •

Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson •

Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • Robert A. Vogt ■ David C. Weinstein •

Christoph Westphal • James Westra • Patricia Plum Wylde • Dr. Michael Zinner ■ D. Brooks Zug

OVERSEERS EMERITI

Helaine B. Allen • Marjorie Arons-Barron • Caroline Dwight Bain ■ Sandra Bakalar •

George W. Berry • William T. Burgin • Mrs. Levin H. Campbell ■ Earle M. Chiles •

Mrs. James C. Collias • Joan P. Curhan • Phyllis Curtin • Tamara P. Davis • Mrs. Miguel de Braganca •

Betsy P. Demirjian • JoAnne Walton Dickinson • Phyllis Dohanian • Harriett Eckstein • George Elvin •

Pamela D. Everhart • J. Richard Fennell • Lawrence K. Fish • Myrna H. Freedman •

Peter H.B. Frelinghuysen • Mrs. Thomas Galligan, Jr. • Mrs. James Garivaltis • Dr. Arthur Gelb ■

Jordan Golding ■ Mark R. Goldweitz • Michael Halperson • John Hamill • Deborah M. Hauser •

Mrs. Richard D. Hill • Marilyn Brachman Hoffman ■ Lola Jaffe • Michael Joyce • Martin S. Kaplan •

Mrs. S. Charles Kasdon • Mrs. Gordon F. Kingsley ■ David I. Kosowsky • Robert K. Kraft •

Benjamin H. Lacy • Mrs. William D. Larkin • Edwin N. London • Frederick H. Lovejoy, Jr. •

Diane H. Lupean • Mrs. Charles P. Lyman • Mrs. Harry L. Marks • Joseph B. Martin, M.D. •

Joseph C. McNay • Albert Merck • John A. Perkins • Dr. Tina Young Poussaint •

Daphne Brooks Prout ■ Patrick J. Purcell • Robert E. Remis ■ John Ex Rodgers • Roger A. Saunders •

Lynda Anne Schubert • Mrs. Carl Shapiro • L. Scott Singleton • Samuel Thorne • Paul M. Verrochi •

Robert A. Wells • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Mrs. John J. Wilson ■

Richard Wurtman, M.D.

EXECUTIVE COMMITTEE OF THE BOSTON SYMPHONY ASSOCIATION OF VOLUNTEERS

Aaron J. Nurick, Chair • Charles Jack, Vice-Chair, Boston • Wilma Michaels, Vice-Chair, Tanglewood ■
Audley Fuller, Secretary • Richard Dixon, Co-Chair Education, Boston • Gerald Dreher, Co-Chair
Membership Administration, Boston • Ellen Mayo, Co-Chair Community Outreach and Audience
Development, Boston • Augusta Liebowitz, Co-Chair Education, Tanglewood • Alexandra Warshaw,
Co-Chair Membership Administration, Tanglewood • Howard Arkans, Co-Chair Community Outreach
and Audience Development, Tanglewood • William Ballen, Usher Liaison, Tanglewood • Ken Singer,
Glass House Liaison, Tanglewood

Program copyright ©2010 Boston Symphony Orchestra, Inc.
Cover photograph by Michael J. Lutch

OPENING NIGHT TRUSTEES AND OVERSEERS

THE JOURNEY TO THE

PRIVATE CLOUD

STARTS NOW

EMC is proud to support the Boston Symphony Orchestra.
Learn more at www.EMC.com/bso.

EMC

where information lives

Administration

Mark Volpe, Managing Director, Eunice and Julian Cohen Managing Directorship, fully funded in perpetuity

Anthony Fogg, Artistic Administrator

Marion Gardner-Saxe, Director of Human Resources

Ellen Highstein, Director of Tanglewood Music Center, Tanglewood Music Center Directorship

endowed in honor of Edward H. Linde by Alan S. Bressler and Edward I. Rudman

Bernadette M. Horgan, Director of Public Relations

Thomas D. May, Chief Financial Officer

Kim Noltemy, Chief Marketing and Communications Officer

Bart Reidy, Director of Development— Institutional Giving, Events, and Administration

Elizabeth P. Roberts, Director of Development— Campaign and Individual Giving

Ray F. Wellbaum, Orchestra Manager

ADMINISTRATIVE STAFF/ARTISTIC

Bridget P. Carr, Senior Archivist • Felicia Burrey Elder, Executive Assistant to the Managing Director •
Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services • Benjamin Schwartz,
Assistant Artistic Administrator

ADMINISTRATIVE STAFF/PRODUCTION

Christopher W. Ruigomez, Director of Concert Operations

H.R. Costa, Technical Director • Leslie DeRoche, Concert Operations Administrator • Vicky Dominguez,
Operations Manager • Jake Moerschel, Assistant Stage Manager • Leah Monder, Production Manager •
John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Mark B. Rulison, Chorus Manager

BOSTON POPS

Dennis Alves, Director of Artistic Planning

Gina Randall, Administrative/Operations Coordinator • Margo Saulnier, Assistant Director of Artistic
Planning • Amanda Severin, Manager of Artistic Services/Assistant to the Pops Conductor

BUSINESS OFFICE

Sarah J. Harrington, Director of Planning and Budgeting ■ Mia Schultz, Director of Investment Operations
and Compliance • Pam Wells, Controller

Mimi Do, Budget Manager • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant
to the Business Management Team • Karen Guy, Accounts Payable Supervisor • David Kelts, Staff
Accountant • Minnie Kwon, Payroll Associate • John O'Callaghan, Payroll Supervisor • Nia Patterson,
Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant •
Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant

OPENING NIGHT ADMINISTRATION

DEVELOPMENT

Joseph Chart, Director of Major Gifts • Nina Jung, Director of Development Events and Volunteer Outreach ■
Ryan Losey, Director of Foundation and Government Relations • Jennifer Roosa, Director of Development
Research and Information Systems • George Triantaris, Director of Principal and Planned Giving
Amanda Aldi, Data Project Coordinator • Stephanie Baker, Campaign Manager • Susan Beaudry,
Manager of Tanglewood Business Partners • Dulce Maria de Borbon, Beranek Room Hostess ■
Cullen E. Bouvier, Donor Relations Officer • Maria Capello, Grant Writer • Diane Cataudella, Associate
Director of Donor Relations • Sabine Chouljian, Manager of Development Events and Volunteer Services •
Kerri Cleghorn, Associate Director, Business Partners ■ Allison Cooley, Associate Director of Society
Giving • Emily Diaz, Donor Information and Data Coordinator • Marcy Bouley Eckel, Associate Director
of Direct Fundraising • Laura Frye, Assistant Manager of Society Giving • David Grant, Development
Operations Manager • Susan Grosel, Interim Director of Annual Funds • Barbara Hanson, Major Gifts
Officer • Sabrina Karpe, Donor Relations Coordinator • Pam Malumphy, Tanglewood Annual Giving
Advisor • Dominic Margaglione, Donor Ticketing Associate • Jill Ng, Senior Major and Planned Giving
Officer ■ Suzanne Page, Associate Director for Board Relations • Emily Reeves, Assistant Manager of
Planned Giving • Amanda Roosevelt, Executive Assistant • Laura Sancken, Coordinator, Development
Events and Volunteer Services • Joyce M. Serwitz, Major Gifts and Campaign Advisor • Alexandria Sieja,
Assistant Manager of Development Events and Volunteer Services • Yong-Hee Silver, Major Gifts
Officer • Erin Simmons, Major Gifts Coordinator • Kenny Smith, Acknowledgment and Gift Processing
Coordinator • Stephanie J. Smith, Annual Fund Project Coordinator • Mary E. Thomson, Associate
Director of Corporate Giving • Szeman Tse, Assistant Director of Development Research ■
Romain Tsiplakis, Graphic Designer

EDUCATION AND COMMUNITY PROGRAMS

Myran Parker-Brass, Director of Education and Community Programs

Claire Carr, Manager of Education Programs • Sarah Glenn, Assistant Manager of Education and
Community Programs • Emilio Gonzalez, Manager of Curriculum Research and Development •
Darlene White, Manager, Berkshire Education and Community Programs

FACILITIES

C. Mark Cataudella, Director of Facilities

symphony hall operations Christopher Hayden, Facilities Manager • Tyrone Tyrell, Security and
Environmental Services Manager

Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Judith Melly, Facilities Coordinator •
Shawn Wilder, Mailroom Clerk

maintenance services Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier,
Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC ■ Sandra Lemerise, Painter •
Michael Maher, HVAC environmental services Landel Milton, Lead Custodian • Rudolph Lewis,
Assistant Lead Custodian ■ Desmond Boland • Julien Buckmire ■ Claudia Ramirez Calmo •
Angelo Flores • Gaho Boniface Wahi

tanglewood operations Robert Lahart, Tanglewood Facilities Manager

Ronald T. Brouker, Grounds Supervisor • Maurice Garofoli, Electrician • Peter Socha, Buildings
Supervisor • Robert Casey ■ Stephen Curley • Richard Drumm • Bruce Huber

HUMAN RESOURCES

Susan Olson, Human Resources Recruiter ■ Heather Mullin, Human Resources Manager •
Kathleen Sambuco, Benefits Manager

INFORMATION TECHNOLOGY

Timothy James, Director of Information Technology

Andrew Cordero, Manager of User Support • Stella Easland, Switchboard Operator • Michael Finlan,
Switchboard Supervisor • David Tucker, Infrastructure Systems Manager • Brian Van Sickle, User Support
Specialist • Richard Yung, Technology Specialist

PUBLIC RELATIONS

Kathleen Drohan, Associate Director of Public Relations • Samuel Brewer, Public Relations Assistant •
Taryn Lott, Public Relations Supervisor

PUBLICATIONS

Marc Mandel, Director of Program Publications

Robert Kirzinger, Assistant Director of Program Publications— Editorial • Eleanor Hayes McGourty,
Assistant Director of Program Publications— Production and Advertising

SALES, SUBSCRIPTION, AND MARKETING

Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales ■ Alyson Bristol,
Director of Corporate Sponsorships ■ Sid Guidicianne, Front of House Manager • James Jackson,
Call Center Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog,
Director of Marketing • Michael Miller, Director of Ticketing

Caitlin Bayer, Subscription Representative • Megan Bohrer, Group Sales Coordinator • Gretchen Borzi,
Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media •
Lenore Camassar, Associate Manager, SymphonyCharge • Theresa Condito, Access Services
Administrator/Subscriptions Associate • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle,
Junior Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House •
Erin Glennon, Senior Graphic Designer • Randie Harmon, Customer Service and Special Projects
Manager • Matthew P. Heck, Office and Social Media Manager • Michael King, Subscriptions Associate •
Michele Lubowsky, Associate Subscriptions Manager • Jason Lyon, Group Sales Manager •
Laura Maas, Merchandising Assistant • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil,
SymphonyCharge Representative • Michael Moore, E-Commerce Marketing Analyst • Allegra Murray,
Corporate Sponsorship Coordinator • Doreen Reis, Advertising and Events Manager • Andrew Russell,
Senior Manager, Corporate Sponsorships • Laura Schneider, Web Content Editor • Robert Sistare,
Subscriptions Representative • Kevin Toler/Art Director • Himanshu Vakil, Web Application Lead •
Stacy Whalen-Kelley, Manager, Corporate Sponsor Relations

box office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager
box office representatives Mary J. Broussard • Arthur Ryan

event services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue
Rentals and Events Administration • Cesar Vilalon De Lima, Events Administrative Assistant

TANGLEWOOD MUSIC CENTER

Andrew Leeson, Budget and Office Manager • Karen Leopardi, Associate Director for Faculty and
Guest Artists ■ Michael Nock, Associate Director for Student Affairs • Gary Wallen, Manager of
Production and Scheduling

OPENING NIGHT ADMINISTRATION

endary.

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HARVARD UNIVERSITY EXTENSION SCHOOL

Harvard University Extension School is proud to support the Boston Symphony Orchestra.

' I v ' To (he memory of Serge and Natalie Koufizeviizky

» PRAYERS of KIERKEGAARD

Text from 5#ren KierKegaard

O Thou *rho frrt^un - change

Samuel Barber, op 30

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the« un> chang-mg. Thou or+ moved and moved in in-fi-ni*e love byfJI thinoC '

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ON DISPLAY IN SYMPHONY HALL

This season's BSO Archives exhibit, located throughout the orchestra and first-balcony
levels of Symphony Hall, displays the breadth and depth of the Archives' holdings,
which document countless facets of the orchestra's history — music directors, players
and instrument sections, and composers, as well as the world-famous acoustics and
architectural features of Symphony Hall.

HIGHLIGHTS OF THIS YEAR'S EXHIBIT INCLUDE, ON THE ORCHESTRA LEVEL OF
SYMPHONY HALL:

• a continuation of last year's survey of BSO concertmasters, this year with a special
emphasis on Joseph Silverstein (concertmaster, 1962-1984), as well as photographs
and documents relating to the history of the BSO's string section;

• a display case devoted to former BSO flutist James Pappoutsakis (orchestra member,
1 937-1 978) highlighting his background, career, and legacy, and displaying for the first
time memorabilia donated to the BSO Archives by Mrs. Pappoutsakis in 1995; and

• a display case devoted to the bassoonists of the Boston Symphony Orchestra.

EXHIBITS ON THE FIRST-BALCONY LEVEL OF SYMPHONY HALL INCLUDE:

• an exploration of Charles Munch's tenure as BSO music director (1949-1962), with a
special focus on his Alsatian roots, his recorded legacy with the BSO, and works com-
missioned and premiered during his tenure (Cabot-Cahners Room);

• a 75th-birthday tribute to Seiji Ozawa, the BSO's music director from 1973 to 2002
(outside the Cabot-Cahners Room, first-balcony right);

• a look at the BSO's close association with American composer Walter Piston (1894-
1976), embellished by a bronze bust of the composer, by Beatrice Paipert, recently
acquired by the BSO (first-balcony right, opposite end of corridor); and

• a look at architectural and decorative details of Symphony Hall (first-balcony left).

TOP OF PAGE, LEFT TO RIGHT:

Erich Leinsdorf and Joseph Silverstein during the 1962-1963 season, Silverstein's first as BSO concertmaster
and Leinsdorf's first as music director (photograph by Boris and Milton)

Detail from the score of Samuel Barber's "Prayers of Kierkegaard" used by Charles Munch for the December
1954 world premiere at Symphony Hall, with Munch's markings (BSO Archives)

Charles Munch disembarking from an Air France flight, c.1956 (BSO Archives)

OPENING NIGHT ON DISPLAY

James Levine

^^7^ Now in his seventh season as music director of the Boston Symphony Orchestra, James
Levine is the BSO's 14th music director since the orchestra's founding in 1881 and the
first American-born conductor to hold that position. Highlights of his 2010-11 BSO season
at Symphony Hall include an Opening Night all-Wagner program with bass-baritone Bryn
Terfel; Mahler's Second (Resurrection), Fifth, and Ninth symphonies, continuing a Mahler
symphony cycle marking the 150th anniversary of the composer's birth and the 100th
of his death; John Harbison's First, Second, and Third symphonies, initiating a Harbison
symphony cycle to be completed in 2011-12 with the world premiere of Harbison's BSO-
commissioned Sixth Symphony; a program pairing Stravinsky's oratorio Oedipus Rex with
Bartok's opera Bluebeard's Castle; Schumann's Second and Third symphonies, marking
the 200th anniversary of the composer's birth; and concerto collaborations with violinist
Christian Tetzlaff (including the world premiere of Harrison Birtwistle's BSO-commissioned
Violin Concerto) and pianist Maurizio Pollini. He will also conduct three concerts with
the orchestra at Carnegie Hall, as well as performances at the New Jersey Performing
Arts Center and the Kennedy Center in Washington, D.C.

James Levine made his BSO debut in April 1972 and became music director in the fall of
2004, having been named music director designate in October 2001. His wide-ranging
programs balance orchestral, operatic, and choral classics with significant music of the
20th and 21st centuries, including newly commissioned works from such leading American
composers as Milton Babbitt, Elliott Carter, John Harbison, Leon Kirchner, Peter Lieberson,
Gunther Schuller, and Charles Wuorinen. Mr. Levine and the Boston Symphony Orchestra
made their first European tour together following the 2007 Tanglewood season, perform-
ing in the Lucerne Festival, the Schleswig-Holstein Festival (in Hamburg), Essen, Dusseldorf,
the Berlin Festival, Paris, and the BBC Proms in London. At Tanglewood in 2008 he was
Festival Director for the Elliott Carter Centenary Celebration marking the composer's
100th-birthday year. Mr. Levine and the orchestra recently released a two-disc set of
Mozart symphonies (Nos. 14, 18, 20, 39, and 41, Jupiter) on the orchestra's own label,

BSO Classics, following upon their previous releases of Brahms's Ein deutsches Requiem,
Ravel's complete Daphnis et Chloe, Mahler's Symphony No. 6, and William Bolcom's
Eighth Symphony and Lyric Concerto. All of these recordings were taken from live per-
formances by Maestro Levine and the orchestra at Symphony Hall in Boston.

NSTON FLOWERS

sine? ig/,/,

WINSTON FLOWERS SAYS 0/Y,
TO THE BOSTON SYMPHONY ORCHESTRA.

BEST WISHES FOR A MOST SUCCESSFUL SEASON!

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OPENING NIGHT JAMES LEVINE

Boston Symphony Orchestra

2010-2011

JAMES LEVINE

Music Director
Ray and Maria Stata Music
Directorship, fully funded
in perpetuity

BERNARD HAITINK

Conductor Emeritus
LaCroix Family Fund,
fully funded in perpetuity

SEIJI OZAWA

Music Director Laureate

FIRST VIOLINS

Malcolm Lowe
Concertmaster
Charles Munch chair,
fully funded in perpetuity

Tamara Smirnova

Associate Concertmaster
Helen Horner Mclntyre chair,
endowed in perpetuity in 1976

Alexander Velinzon
Assistant Concertmaster
Robert L. Beal, Enid L, and
Bruce A. Beal chair, endowed
in perpetuity in 1980

Elita Kang

Assistant Concertmaster
Edward and Bertha C. Rose chair

Bo Youp Hwang

John and Dorothy Wilson chair,
fully funded in perpetuity

Lucia Lin

Dorothy Q. and David B. Arnold, Jr.,
chair, fully funded in perpetuity

Ikuko Mizuno§

Muriel C. Kasdon and Marjorie C.
Paley chair

Nancy Bracken*

Ruth and Carl J. Shapiro chair,
fully funded in perpetuity

Aza Raykhtsaum*

Theodore W. and Evelyn
Berenson Family chair

Bonnie Bewick*

Stephanie Morris Marryott and
Franklin J. Marryott chair

James Cooke*

Catherine and Paul Buttenwieser
chair

Victor Romanul*

Bessie Pappas chair

Catherine French*

Mary B. Saltonstall chair, fully
funded in perpetuity

Jason Horowitz*

Kristin and Roger Servison chair

Julianne Lee*

Donald C. and Ruth Brooks Heath
chair, fully funded in perpetuity

SECOND VIOLINS

Haldan Martinson

Principal

Carl Schoenhof Family chair,

fully funded in perpetuity

Vyacheslav Uritsky

Assistant Principal

Charlotte and Irving W. Rabb chair,

endowed in perpetuity in 1977

Sheila Fiekowsky

Shirley and J. Richard Fennell
chair, fully funded in perpetuity

Ronald Knudsen

David H. and Edith C. Howie
chair, fully funded in perpetuity

Ronan Lefkowitz

Jennie Shames*

Valeria Vilker Kuchment*

Tatiana Dimitriades*

Si-Jing Huang*

Nicole Monahan*

Wendy Putnam*

Robert Bradford Newman chair,
fully funded in perpetuity

Xin Ding*

Glen Cherry*

Yuncong Zhang*

VIOLAS

Steven Ansell

Principal

Charles S. Dana chair, endowed

in perpetuity in 1970

Cathy Basrak

Assistant Principal
Anne Stoneman chair, fully
funded in perpetuity

Edward Gazouleas

Lois and Harlan Anderson chair,
fully funded in perpetuity

Robert Barnes

Michael Zaretsky

Marc Jeanneret

Mark Ludwig*

Rachel Fagerburg*

Kazuko Matsusaka*5

Rebecca Gitter*

CELLOS

Jules Eskin

Principal

Philip R. Allen chair, endowed in

perpetuity in 1969

Martha Babcock

Assistant Principal

Vernon and Marion Alden chair,

endowed in perpetuity in 1977

Sato Knudsen

Mischa Nieland chair, fully
funded in perpetuity

Mihail Jojatu

Sandra and David Bakalar chair

Jonathan Miller*

Charles and JoAnne Dickinson
chair

Owen Young*

John F Cogan, Jr., and Mary L.
Cornille chair, fully funded in
perpetuity

Andrew Pearce*

Stephen and Dorothy Weber
chair, fully funded in perpetuity

Mickey Katz*

Richard C. and Ellen E. Paine
chair, fully funded in perpetuity

Alexandre Lecarme*

Adam Esbensen*

Blaise Dejardin*

BASSES

Edwin Barker
Principal

Harold D. Hodgkinson chair,
endowed in perpetuity in 1974

Lawrence Wolfe

Assistant Principal

Maria Nistazos Stata chair, fully

funded in perpetuity

Benjamin Levy

Leith Family chair, fully funded
in perpetuity

Dennis Roy

Joseph and Jan Brett Hearne
chair

Joseph Hearne

James Orleans*

Todd Seeber*

Eleanor L. and Levin H. Campbell
chair, fully funded in perpetuity

JohnStovall*

FLUTES

Elizabeth Rowe
Principal

Walter Piston chair, endowed
in perpetuity in 1970

(position vacant)

Myra and Robert Kraft chair,
endowed in perpetuity in 1981

Elizabeth Ostling

Associate Principal
Marian Gray Lewis chair, fully
funded in perpetuity

photos by Michael J. Lutch

PICCOLO

Cynthia Meyers

Evelyn and C. Charles Marran
chair, endowed in perpetuity in
1979

OBOES

John Ferrillo

Principal

Mildred B. Remis chair, endowed
in perpetuity in 1975

Mark McEwen

James and Tina Collias chair

Keisuke Wakao

Assistant Principal

Farla and Harvey Chet Krentzman

chair, fully funded in perpetuity

ENGLISH HORN

Robert Sheena

Beranek chair, fully funded in
perpetuity

CLARINETS

William R. Hudgins

Principal

Ann S.M. Banks chair, endowed
in perpetuity in 1977

Michael Wayne

Thomas Martin

Associate Principal &

E-flat clarinet

Stanton W. and Elisabeth K.

Davis chair, fully funded in

perpetuity

BASS CLARINET

Craig Nordstrom

BASSOONS

Richard Svoboda

Principal

Edward A. Taft chair, endowed in
perpetuity in 1974

Suzanne Nelsen

John D. and Vera A/I. MacDonald
chair

Richard Ranti

Associate Principal

Diana Osgood Tottenham/
Hamilton Osgood chair, fully
funded in perpetuity

CONTRABASSOON

Gregg Henegar

Helen Rand Thayer chair

HORNS

James Sommerville

Principal

Helen Sagoff Slosberg/Edna S.
Kalman chair, endowed in
perpetuity in 1974

Richard Sebring

Associate Principal

Margaret Andersen Congleton
chair, fully funded in perpetuity

(position vacant)

Elizabeth B. Storer chair, fully
funded in perpetuity

(position vacant)

John P. II and Nancy S. Eustis
chair, fully funded in perpetuity

Jason Snider

Gordon and Mary Ford Kingsley
Family chair

Jonathan Menkis

Jean-Noel and Mona N. Tariot
chair

TRUMPETS

Thomas Rolfs

Principal

Roger Louis Voisin chair, endowed
in perpetuity in 1977

Benjamin Wright

Arthur and Linda Gelb chair

Thomas Siders

Assistant Principal
Kathryn H. and Edward A/I.
Lupean chair

(position vacant)

Ford H. Cooper chair, endowed
in perpetuity in 1984

TROMBONES

Toby Oft

Principal

J. P. and Mary B. Barger chair,
fully funded in perpetuity

Stephen Lange

BASS TROMBONE

Douglas Yeo

John Moors Cabot chair, fully
funded in perpetuity

TUBA

Mike Roylance

Principal

Margaret and William C.
Rousseau chair, fully funded in
perpetuity

TIMPANI

Timothy Genis

Sylvia Shippen Wells chair,
endowed in perpetuity in 1974

PERCUSSION

Frank Epstein

Peter and Anne Brooke chair,
fully funded in perpetuity

J. William Hudgins

Peter Andrew Lurie chair, fully
funded in perpetuity

W. Lee Vinson

Barbara Lee chair

Daniel Bauch

Assistant Timpanist

A/lr. and Mrs. Edward H. Linde

chair

HARP

Jessica Zhou

Nicholas and Thalia Zervas chair,
fully funded in perpetuity by
Sophia and Bernard Gordon

VOICE AND CHORUS

John Oliver

Tanglewood Festival Chorus
Conductor

Alan J. and Suzanne W. Dworsky
chair, fully funded in perpetuity

LIBRARIANS

Marshall Burlingame

Principal

Li a and William Poorvu chair,
fully funded in perpetuity

William Shisler

John Perkel

ASSISTANT
CONDUCTORS

Marcelo Lehninger

Anna E. Finnerty chair, fully
funded in perpetuity

Sean Newhouse

PERSONNEL
MANAGERS

Lynn G. Larsen

Bruce M. Creditor
Timothy Tsukamoto

Assistant Personnel Managers

STAGE MANAGER

John Demick

* participating in a system

of rotated seating
§ on sabbatical leave

OPENING NIGHT BOSTON SYMPHONY ORCHESTRA

A Brief History of the
Boston Symphony Orchestra

Now in its 130th season, the Boston Symphony Orchestra gave its inaugural concert on
October 22, 1881, and has continued to uphold the vision of its founder, the businessman,
philanthropist, Civil War veteran, and amateur musician Henry Lee Higginson, for more
than 125 years. The Boston Symphony Orchestra has performed throughout the United
States, as well as in Europe, Japan, Hong Kong, South America, China, and Russia; in
addition, it reaches audiences numbering in the millions through its performances on
radio, television, and recordings. It plays an active role in commissioning new works from
today's most important composers; its summer season at Tanglewood is one of the world's
most important music festivals; it helps develop the audience of the future through BSO
Youth Concerts and through a variety of outreach programs involving the entire Boston
community; and, during the Tanglewood season, it sponsors the Tanglewood Music
Center, one of the world's most important training grounds for young composers, con-
ductors, instrumentalists, and vocalists. The orchestra's virtuosity is reflected in the
concert and recording activities of the Boston Symphony Chamber Players, one of the
world's most distinguished chamber ensembles made up of a major symphony orches-
tra's principal players, and the activities of the Boston Pops Orchestra have established
an international standard for the performance of lighter kinds of music. Overall, the
mission of the Boston Symphony Orchestra is to foster and maintain an organization
dedicated to the making of music consonant with the highest aspirations of musical art,
creating performances and providing educational and training programs at the highest
level of excellence. This is accomplished with the continued support of its audiences,
governmental assistance on both the federal and local levels, and through the generosity
of many foundations, businesses, and individuals.

Henry Lee Higginson dreamed of founding a great and permanent orchestra in his
home town of Boston for many years before that vision approached reality in the spring

Major Henry Lee Higginson, founder of the Boston Symphony Orchestra

The first photo-
graph, actually
a collage, of
the Boston
Symphony
Orchestra under
Georg Henschel,
taken 1882

of 1881. The following October the first Boston Symphony Orchestra concert was given
under the direction of conductor Georg Henschel, who would remain as music director
until 1884. For nearly twenty years Boston Symphony concerts were held in the Old
Boston Music Hall; Symphony Hall, one of the world's most highly regarded concert
halls, was opened on October 15, 1900. The BSO's 2000-01 season celebrated the cen-
tennial of Symphony Hall, and the rich history of music performed and introduced to the
world at Symphony Hall since it opened over a century ago.

Georg Henschel was succeeded by a series of German-born and -trained conductors—
Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler— culminating in the
appointment of the legendary Karl Muck, who served two tenures as music director,
1906-08 and 1912-18. Meanwhile, in July 1885, the musicians of the Boston Symphony
had given their first "Promenade" concert, offering both music and refreshments, and ful-
filling Major Higginson's wish to give "concerts of a lighter kind of music." These con-
certs, soon to be given in the springtime and renamed first "Popular" and then "Pops,"
fast became a tradition.

In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts
at the Panama-Pacific Exposition in San Francisco. Recording, begun with the Victor
Talking Machine Company (the predecessor to RCA Victor) in 1917, continued with
increasing frequency. In 1918 Henri Rabaud was engaged as conductor. He was succeed-
ed the following year by Pierre Monteux. These appointments marked the beginning of
a French-oriented tradition which would be maintained, even during the Russian-born
Serge Koussevitzky's time, with the employment of many French-trained musicians. ,

The Koussevitzky era began in 1924. His extraordinary musicianship and electric person-
ality proved so enduring that he served an unprecedented term of twenty-five years. The
BSO's first live concert broadcasts, privately funded, ran from January 1926 through the
1927-28 season. Broadcasts continued sporadically in the early 1930s, regular live Boston

OPENING NIGHT A BRIEF HISTORY OF THE BOSTON SYMPHONY ORCHESTRA

Rush ticket line
at Symphony Hall,
probably in the 1930s

Symphony broadcasts being initiated in October 1935. In 1936 Koussevitzky led the
orchestra's first concerts in the Berkshires; a year later he and the players took up annual
summer residence at Tanglewood. Koussevitzky passionately shared Major Higginson's
dream of "a good honest school for musicians," and in 1940 that dream was realized with
the founding of the Berkshire Music Center (now called the Tanglewood Music Center).

In 1929 the free Esplanade concerts on the Charles River in Boston were inaugurated
by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930
became the eighteenth conductor of the Boston Pops, a post he would hold for half a
century, to be succeeded by John Williams in 1980. The Boston Pops Orchestra celebrat-
ed its hundredth birthday in 1985 under Mr. Williams's baton. Keith Lockhart began his
tenure as twentieth conductor of the Boston Pops in May 1995, succeeding Mr. Williams.

Charles Munch followed Koussevitzky as music director of the Boston Symphony Orches-
tra in 1949. Munch continued Koussevitzky 's practice of supporting contemporary com-
posers and introduced much music from the French repertory to this country. During his
tenure the orchestra toured abroad for the first time and its continuing series of Youth
Concerts was initiated under the leadership of Harry Ellis Dickson. Erich Leinsdorf began
his seven-year term as music director in 1962. Leinsdorf presented numerous premieres,
restored many forgotten and neglected works to the repertory, and, like his two prede-
cessors, made many recordings for RCA; in addition, many concerts were televised under
his direction. Leinsdorf was also an energetic director of the Tanglewood Music Center;
under his leadership a full-tuition fellowship program was established. Also during these
years, in 1964, the Boston Symphony Chamber Players were founded. William Steinberg
succeeded Leinsdorf in 1969. He conducted a number of American and world premieres,
made recordings for Deutsche Grammophon and RCA, appeared regularly on television,
led the 1971 European tour, and directed concerts on the east coast, in the south, and in
the midwest.

Seiji Ozawa became the BSO's thirteenth music director in the fall of 1973, following a

Symphony Hall in the
early 1940s, with the
main entrance still on
Huntington Avenue,
before the intersection
of Massachusetts and
Huntington avenues
was reconstructed so
the Green Line could
run underground

year as music advisor and three years as an artistic director at Tanglewood. His historic
twenty-nine-year tenure, from 1973 to 2002, exceeded that of any previous BSO conduc-
tor; in the summer of 2002, at the completion of his tenure, he was named Music
Director Laureate. Besides maintaining the orchestra's reputation worldwide, Ozawa
reaffirmed the BSO's commitment to new music through the commissioning of many
new works (including commissions marking the BSO's centennial in 1981 and the
TMC's fiftieth anniversary in 1990), played an active role at the Tanglewood Music
Center, and further expanded the BSO's recording activities. In 1995 he and the BSO
welcomed Bernard Haitink as Principal Guest Conductor. Named Conductor Emeritus in
2004, Mr. Haitink has led the BSO in Boston, New York, at Tanglewood, and on tour in
Europe, and has also recorded with the orchestra.

In the fall of 2001, James Levine was named to succeed Seiji Ozawa as music director.
Maestro Levine began his tenure as the BSO's fourteenth music director— and the first
American-born conductor to hold that position— in the fall of 2004. His wide-ranging
programs balance great orchestral, operatic, and choral classics with equally significant
music of the 20th and 21st centuries, including newly commissioned works from such
important American composers as Milton Babbitt, Elliott Carter, John Harbison, Leon
Kirchner, Peter Lieberson, Gunther Schuller, and Charles Wuorinen. He also appears as
pianist with the Boston Symphony Chamber Players, conducts the Tanglewood Music
Center Orchestra, and works with the TMC Fellows in classes devoted to orchestral
repertoire, Lieder, and opera. Mr. Levine and the BSO have released a number of record-
ings, all drawn from live performances at Symphony Hall, on the orchestra's own label,
BSO Classics. He and the BSO made their first European tour together in late summer
2007, performing in the Lucerne Festival, the Schleswig-Holstein Festival (in Hamburg),
Essen, Dusseldorf, the Berlin Festival, Paris, and the BBC Proms in London.

Today the Boston Symphony Orchestra, Inc., presents more than 250 concerts annually.
It is an ensemble that has richly fulfilled Henry Lee Higginson's vision of a great and per-
manent orchestra in Boston.

OPENING NIGHT A BRIEF HISTORY OF THE BOSTON SYMPHONY ORCHESTRA

BOSTON

SYMPHONY

ORCHESTRA

JAMES LEVINE
Music
' , Director^

g£&^Wry£

* v&eWrO

The Boston Symphony Orchestra Congratulates

Life Trustee

John L. Thorndike

For 50 Years of Extraordinary Service

^'H^y^i*;

wst&l

**r

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John with former
BSOtimpanist Vic Firth

AND

Board Leadership
1960-2010

g,Mi

1968

John {far left) conducting a business luncheon in
the Ancient Instruments Room of Symphony Hall

John with Tanglewood Music

Center cellist Joshua Zajac,

recipient of the

Lucy Lowell Fellowship

lototraphy: Michael J. Lutch, Photography Incorporated. Hilary Scott

3fc

Opening Night at Symphony 2010
Benefactor Committee

BENEFACTOR CO-CHAIRS

Stephen B. Kay and Lisbeth L. Tarlow
Megan and Robert O'Block

BENEFACTOR COMMITTEE

George D. and Margo Behrakis

Alan S. and Lorraine D. Bressler

Jan Brett and Joseph Hearne

Katie and Paul Buttenwieser

John F. Cogan, Jr. and Mary L. Comille

John and Diddy Cullinane

Cynthia and Oliver Curme

Julia and Ronald Druker

Judith and Roger Feingold

Richard Golob and Lucia Lovison-Golob

Ted and Debbie Kelly

Peter and Connie Lacaillade

Charles and Lisa Larkin

Carmine A. and Beth V. Martignetti

Joseph C. McNay

Sandra Moose and Eric Birch

Arthur Segel

Kristin and Roger Servison

Thomas G. Sternberg and
Katherine Chapman 1

Stephen and Dorothy Weber

OPENING NIGHT AT SYMPHONY PARTNER

COPLEY PLAZA

SEASON SPONSOR

UBS

OPENING NIGHT AT SYMPHONY

Opening Night at Symphony

Saturday, October 2, 2010

The Boston Symphony Orchestra recognizes with extreme gratitude the following individuals
and companies for their incredible support of this year's Opening Night at Symphony.

$50,000+

Stephen B. Kay and Lisbeth L. Tarlow
Ted and Debbie Kelly

Megan and Robert O'Block

$25,000 - $49,999

Leo and Gabriella Beranek

Carmine A. and Beth V. Martignetti and

Thomas G. Sternberg and

Katherine Chapman

Ray and Maria Stata

$10,000 - $24,999

Alan S. and Lorraine D. Bressler

Katie and Paul Buttenwieser

Eleanor L. Campbell and Levin H. Campbel

John F. Cogan, Jr. and Mary L. Cornille

John and Diddy Cullinane

Cynthia and Oliver Curme

Julia and Ronald Druker

Eaton Vance Corp.

Peter and Connie Lacaillade

Joseph C. McNay-New England Foundation

William and Lia Poorvu

Cynthia and John Reed

Patti Saris and Arthur Segel

Lynda A. Schubert

Sovereign Bank

John Lowell Thorndike

Stephen and Dorothy Weber

Anonymous (1)

$5,000 - $9,999

George D. and Margo Behrakis

Jan Brett and Joseph Hearne

Peter and Anne Brooke

Jonathan and Margot Davis

Mr. and Mrs. Miguel de Braganca

Alan J. and Suzanne W. Dworsky

David Endicott Gannett

Richard Golob and Lucia Lovison-Golob

Mrs. Edward H. Linde

Nancy and Richard Lubin

Ann Merrifield and Wayne Davis

William and Helen Pounds

Charles and Ingrid Richardson

Gilda and Alfred Slifka

Roberta and Stephen R. Weiner

James Westra and Elizabeth Cunningham

Robert and Roberta Winters

Anonymous (1)

$2,500 - $4,999

Alii and Bill Achtmeyer

Dr. Robert and Jane B. Mayer

Jeffrey E. Marshall

Richard P. and Claire W. Morse Foundation

Solange Skinner
Rosalyn Kempton Wood
Anonymous (1)

$irooo - $2,499

Marjorie Arons-Barron and James H. Barron

Lucille Batal and Avi Nelson

Mark and Linda Borden

Samuel B. and Deborah D. Bruskin

Joanne and Timothy Burke

Ronald and Ronni Casty

Charles Christenson

Mrs. Harriett M. Eckstein

William and Deborah Elfers

Roger and Judith Feingold

Mary Elizabeth and Melvin Field

Fiduciary Trust

Larry and Atsuko Fish

Nancy J. Fitzpatrick and Lincoln Russell

Martin J. Gantshar

Dozier and Sandra Gardner

Thelma and Ray Goldberg

Brent Henry and Minnie Baylor-Henry

Mr. and Mrs. Richard P. Hill

Susie and Stuart Hirshfield

Edna S. and Bela T. Kalman

Mrs. Joan Bennett Kennedy

Mr. and Mrs. Jack Klinck

Dr. Samuel Kopel and Sari Scheer

Charles and Lisa Larkin

Mrs. Vincent J. Lesunaitis

Joseph and Rachel Martin

Kate and Al Merck

Dale and Bob Mnookin

Mr. and Mrs. Paul M. Montrone

Keith and Angela Motley

Mrs. Robert B. Newman

Ann M. Philbin

Wendy Philbrick and Edward Baptiste

Polly and Daniel Pierce

Claudio and Penny Pincus

Drs. Eduardo and Lina Plantilla

Drs. Joseph J. and Deborah M. Plaud

Jonathan and Amy Poorvu

John and Susanne Potts

Robert and Elizabeth Pozen

Helen and Peter Randolph

Peter and Suzanne Read

Anne Marie Soullierc and Lindsey C.Y. Kiang

Margery and Lewis Steinberg

Terry and Rick Stone

Patricia L. Tambone

John and Margaret Towers

Mrs. Margaret Williams-DeCelles

Anonymous (4)

IN-KIND DONORS

Be Our Guest

Boston Gourmet

Commonwealth Worldwide Chauffeured
Transportation

Fairmont Copley Plaza Hotel

High Output

Rentals Unlimited

W. J. Deutsch & Sons, Ltd.

Winston Flowers

Lists as of September 10, 2010

OPENING NIGHT AT SYMPHONY

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HOTELS & RESORTS

Mahler's No. 4 or Mozart's No. 40?

At The Fairmont Copley Plaza, we appreciate

all our guests' preferences.

In a city renowned for its passionate embrace of the arts, there is a hotel that sits at
its center. The Fairmont Copley Plaza is honored to be the Official Hotel of two of
the world's greatest orchestras, the Boston Symphony and the Boston Pops.

For reservations or more information, call 1 800 441 1414 or visit www.fairmont.com

^=^>

JAMES LEVINE, MUSIC DIRECTOR
BERNARD HAITINK, CONDUCTOR EMERITUS
SEIJI OZAWA, MUSIC DIRECTOR LAUREATE

Boston Symphony Orchestra

330th season, 2010-2011

Saturday, October 2, 6pm | opening night at symphony

SUPPORTED BY

THE FAIRMONT COPLEY PLAZA HOTEL

JAMES LEVINE conducting

ALL-WAGNER PROGRAM

PRELUDE TO ACT I OF DIE MEISTERSINGER VON NURNBERG

HANS SACHS'S ACT II MONOLOGUE ("WAS DUFTET DOCH DER FLIEDER")
FROM "DIE MEISTERSINGER VON NURNBERG"

BRYN TERFEL, BASS-BARITONE

Text and translation are on page 29.

RIDE OF THE VALKYRIES FROM "DIE WALKURE"

wotan's FAREWELL AND MAGIC FIRE MUSIC
FROM "DIE WALKURE"

Mr. TERFEL

Text and translation begin on page 34.

OVERTURE TO "THE FLYING DUTCHMAN"

THE DUTCHMAN'S MONOLOGUE ("DIE FRIST 1ST UM")
FROM "THE FLYING DUTCHMAN"

Mr. TERFEL

Text and translation begin on page 40.

<J<^^ UBS IS PROUD TO SPONSOR THE BSO'S 2010-2011 SEASON.

Steinway and Sons Pianos, selected exclusively for Symphony Hall.

Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and
Commonwealth Worldwide Chauffeured Transportation.

In consideration of the performers and those around you, please turn off cellular phones, texting devices,
pagers, watch alarms, and all other electronic devices during the concert.

Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers
and to other audience members.

OPENING NIGHT PROGRAM 23

^^ Guest Artist

Bryn Terfel

The Welsh bass-baritone Bryn Terfel rose to prominence when he won the Lieder Prize in the
1989 Cardiff Singer of the World Competition. He has performed in all of the world's great
opera houses and is especially recognized for his portrayals of Mozart's Figaro and Verdi's
Falstaff. Other roles include Wotan in Dos Rheingold and Die Walkure, the title role in Der
fliegende Hollander, Mephistopheles in Faust, both the title role and Leporello in Don Giovanni,
Jochanaan in Salome, Scarpia in Tosca, the title role in Gianni Schicchi, Nick Shadow in The
Rake's Progress, Wolfram in Tannhauser, Captain Balstrode in Peter Grimes, the Four Villains in
Les Contes d'Hoffmann, Dulcamara in L'elisir d'amore, and the title role in Sweeney Todd. Highlights
of 2010 have included his role debut as Hans Sachs in a critically acclaimed production of
Die Meistersinger von Nurnberg for Welsh National Opera, a European concert tour, and recitals
in New York, San Francisco, and Los Angeles. Operatic plans include Wotan in Wagner's Ring
cycle for the Royal Opera House, Covent Garden, and the Metropolitan Opera, New York,
where this season he sings the role in new productions of Das Rheingold (which just opened
the new Metropolitan Opera season) and Die Walkure (April 2011). Mr. Terfel is also known
for his versatility as a concert performer, with engagements ranging from the opening cere-
mony of the Wales Millennium Centre to Last Night of the Proms and the Royal Variety Show.
In 2007 he sang the title role in concert performances of Sweeney Todd as part of the reopen-
ing of the Royal Festival Hall, London. He has given recitals in the major cities of the world
and hosts his own festival every year in Faenol, North Wales. Bryn Terfel has won Grammy,
Classical Brit, and Gramophone awards; his discography includes operas of Mozart, Wagner,

and Strauss, and more than ten solo discs encompassing Lieder, American musical theater,
Welsh songs, and sacred repertory. An album of Christmas music will be released this fall. His
recent album "Bad Boys," released by Deutsche Grammophon in November 2009, includes
music drawn from a wide-ranging operatic repertoire as well as selections from Sweeney Todd,
Porgy and Bess, The Threepenny Opera, and Ruddigore. Bryn Terfel was made a CBE for his serv-
ices to opera in the Queen's New Year Honours list; in 2006 he was awarded the Queen's
Medal for Music. He is also the last recipient of the Shakespeare Prize by the Alfred Toepfer
Foundation, Hamburg, also awarded in 2006. Bryn Terfel made his Boston Symphony Orches-
tra debut in the Opening Night concert of the BSO's 1997-98 season with Seiji Ozawa con-
ducting, subsequently appearing twice with the orchestra at Tanglewood, in August 1998 and
July 2004.

OPENING NIGHT GUEST ARTIST

Richard Wagner

Prelude to Act I and Hans Sachs's Act II
monologue ("Was dufiet dock der Flieder")
from "Die Meistersinger von NiXrnberg"

WILHELM RICHARD WAGNER was born in Leipzig, Saxony, on May 22, 1813, and died in
Venice on February 13, 1883. Wagner created an early prose sketch for "Die Meistersinger von
Niirnberg" in July 1845; he made a later one in November 1861, then wrote the text of the opera
between late December 1861 and January 25, 1862. Wagner sketched the music between March
1862 and March 5, 1867, producing the autograph score between June 3, 1862, and October 24,
1867. The first performance took place on June 21, 1868, in Munich, with Hans von Biilow con-
ducting (though Wagner himself had already conducted the first performance of the Prelude to
Act I on November 1, 1862, in Leipzig).

THE ORCHESTRA FOR THE ACT I PRELUDE includes piccolo, two each of flutes, oboes,
clarinets, and bassoons, four horns, three trumpets, three trombones, tuba, timpani, triangle,
cymbals, harp, and strings. The orchestra for Hans Sachs's Act II monologue includes piccolo,
two each of flutes, oboes, clarinets, and bassoons, four horns, and strings.

Like Tristan und Isolde, the opera that immediately preceded it in Wagner's output, Die
Meistersinger von Nurnberg (The Mastersingers of Nuremberg) was written during the years
following Wagner's break from work on his massive Der Ring des Nibelungen. By the sum-
mer of 1857, hopes for the production of his R/ng-in-progress were all but gone, and
negotiations with his publishers were getting nowhere. There was no regular source of
income, he had had no new work staged since the premiere of Lohengrin under Liszt at
Weimar in 1850, and so it was obviously time for something more likely to be produced
than the Ring. This he thought he had found in Tristan und Isolde; and even when this
proved not to be the case, he expressed naively similar sentiments as he turned to work
on Die Meistersinger, assuring the publisher Schott that his next opera would be "light,
popular, easy to produce," requiring neither a great tenor nor a "great tragic soprano,"
and well within the abilities of any small opera company. Once more, Wagner proved

Photograph of Wagner by Franz Hanfstaengle, 1865

himself wrong: Die Meistersinger von Nurnberg is one of the longest operas in the repertory,
and, like Tristan, is hardly ever performed uncut. It requires no fewer than seventeen solo
performers, including a leading tenor and leading bass of remarkable stamina, and the
ensembles that close the first and second acts are among the most complex and difficult
ever written.

Considered in a very broad sense as something of a companion-piece to Tristan, the other
major product of Wagner's break from work on the Ring, Die Meistersinger reflects not
only Wagner's growth as a composer, but also his considerable versatility, his ability to
employ contrasting musical vocabularies as called for by contrasting subject matter. The
intense chromaticism of Tristan is perfectly suited to that work's depiction of heightened
longing, both physical and spiritual. Die Meistersinger, on the other hand, is full of down-
to-earth humanity in its portrayal of characters, situations, and emotions, and this work
is written in a prevailingly direct diatonicism, embodied as much in the overture as it is
throughout the opera. Wagner's libretto, too, is for the most part much more straightfor-
ward in its approach to language than is his text for Tristan. And the subject matter will
also have harmonized with Wagner's own needs at the time. Just as Tristan und Isolde
took inspiration from his passionate involvement with Mathilde Wesendonck, the wife
of an important patron, so Die Meistersinger von Nurnberg mirrored a concern always
close to the self-promoting Wagner's heart: the need for (which is to say, his desire for)
acceptance, by public and critics alike, of the New in art, particularly his own.

In a nutshell, the story of Die Meistersinger— set in mid-16th-century Nuremberg— is this:
The young knight Walther von Stolzing and Eva, daughter of the Mastersinger/goldsmith
Veit Pogner, are in love; but Pogner decrees that Eva can only marry a Mastersinger— and
specifically the Mastersinger chosen as winner of the annual Contest of Song held on the
Feast Day of St. John the Baptist (though Pogner does at least grant Eva veto power in
this regard). Walther's attempt to qualify as a contestant confounds all who hear him,
including the Mastersinger/cobbler/philosopher/poet Hans Sachs— although Sachs (who
is himself in love with Eva, complicating things further) senses that there was something
new and important to be heard in Walther's efforts. Following a complex sequence of
comings, goings, and interactions on the part of all involved, the final (third) act of
Die Meistersinger concludes with the St. John's Day gathering of the townspeople on the
meadow outside Nuremberg to witness the Contest of Song, in which Walther finally
wins Eva's hand.

The Prelude to Act I is built upon a succession of musical ideas from the opera, set out
within the context of a self-contained musical structure that one might reasonably think
to label as an "overture"— which is what Wagner in fact called it until he wrote out the
full score. Opening with a sturdy C major theme associated with the guild of the Master-
singers, it goes on to include music anticipating Walther's Prize Song; the Mastersingers'
festive processional; music associated with the Masters' apprentices; and music con-
nected in the opera with the spectators watching the third-act Contest of Song. Toward
the end, an imposing reappearance of the "guild theme" leads to the return of the open-

OPENING NIGHT PROGRAM NOTES 2J

ing material, but with a difference: in a magical moment signaled by the first triangle
stroke in the piece, the three principal themes— those of the guild, the Prize Song, and
the Mastersingers' processional— are brought together contrapuntally in a musical tex-
ture of crystalline clarity and Mozartian balance. In a complete performance of the opera,
the overture leads without pause directly into the first scene of Act I. In concert, it ends
with the same series of fanfares that closes the opera itself, proclaiming the rightness of
music, art, and humanity.

Hans Sachs's Act II monologue, "Was duftet doch der Flieder," finds him sitting at his
workbench late at night, outside his shop, reflecting on the song of Walther's that had so
perplexed those present when the young knight sought candidacy in the Masters' guild
earlier that day in an effort to qualify for the upcoming contest. (Strains from Walther's
song are audible in the orchestral fabric.) Sachs compares Walther to someone inspired
by birdsong, but who still lacks the ability of recreating that song, or conveying its
essence, himself. But Sachs acknowledges also that, whatever the others listening to
Walther may have thought, he himself was nevertheless quite taken with what he heard.

Marc Mandel

MARC MANDEL is the Boston Symphony Orchestra's Director of Program Publications.

THE FIRST BOSTON SYMPHONY PERFORMANCE OF THE PRELUDE TO ACT I OF "DIE
MEISTERSINGERVON NURNBERG" took place during the orchestra s first season, in November
1881 with Georg Henschel conducting. The BSO's most recent subscription performances of the
Act I Prelude were led by Giuseppe Sinopoli in February 1990. The orchestra's most recent Tangle-
wood performance took place on July 17, 2004, with Rafael Fruhbeck de Burgos conducting the
Prelude to begin an extended series of excerpts from the opera featuring the Tanglewood Festival
Chorus and bass-baritone Bryn Terfel (who sang Hans Sachs's Act II monologue, "Was duftet doch
der Flieder"; Sachs's Act III monologue, "Wahn! Wahn! uberall Wahn!"; and Sachs's closing address
to the assembled townsfolk, "Verachtet mir die Meister nicht"). Until then, Sachs's Act II monologue
had been performed by the orchestra on just two occasions early in its history: with Georg Henschel
as soloist and seemingly also as conductor (no other is listed in the program) in February/March
1884; and with David Bispham under Emit Paur's direction in December 1897.

Hans Sachs's monologue, "Was duftet dock der Flieder3
from "Die Meistersinger von Nurnherg," Act II

Was duftet doch der Flieder
so mild, so stark und voll!
Mir lost es weich die Glieder,
will, dass ich was sagen soil. —
Was gilt's, was ich dir sagen kann?
Bin gar ein arm einfaltig' Mann!
Soil mir die Arbeit nicht schmecken,
gab'st, Freund, lieber mich frei:
tat' besser das Leder zu strecken,
und liess' alle Poeterei!—

Und doch, 's will halt nicht geh'n.—

Ich fuhl's— und kann's nicht versteh'n—

kann's nicht behalten,— doch auch

nicht vergessen;
und fass' ich es ganz,— kann ich's

nicht messen.—
Doch wie wollt' ich auch fassen
was unermesslich mir schien?
Kein' Regel wollte da passen,
und war doch kein Fehler drin. —
Es klang so alt, und war doch so neu,—
wie Vogelsang im sussen Mai:—
wer ihn hort,
und wahnbetort
sange dem Vogel nach,
dem bracht' es Spott und Schmach.—
Lenzes Gebot,
die susse Not,
die legt' es ihm in die Brust:
nun sang er, wie er musst'!
Und wie er musst', so konnt' er's;
das merkt' ich ganz besonders.
Dem Vogel, der heut' sang,
dem war der Schnabel hold gewachsen;
macht' er den Meistern bang,
gar wohl gefiel er doch Hans Sachsen.

Richard Wagner

How fragrant is the elder-tree:
so mild, so strong and full!
It relaxes my limbs so gently,
and wants me to say something. . .
But to what purpose; what could I say?
I'm just a poor, simple man!
When my work doesn't please me,
you'd do better, friend, to leave me be:
better for me to stretch leather,
and forget about poetry!

And yet, it won't leave me. . .

I feel it. . . but can't understand it. . .

can't grasp it. . . yet can't forget it;

and if I grasp it. . . I can't parse it. . .

Yet how I so wanted to grasp
what seemed to me not measurable.
No rule seemed to suit it,
yet there was no real fault. . .
It sounded so old, and was still so new. . .
like birdsong, in sweet May:
he who hears it
and, gripped by delusion,
attempts what the bird has sung,
brings on himself ridicule and disgrace...
Spring's command,
sweet necessity,
set it in his heart...
thus he sang as he had to!
And as he had to, so he was able;
that struck me quite particularly.
The bird that sang today
had a beak well-formed for it-
he may have made the Masters anxious,
but no question: Hans Sachs liked it.

Translation ©Marc Mandel

OPENING NIGHT PROGRAM NOTES

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Richard Wagner

Ride of the Valkyries, Wotan's Farewell, and
Magic Fire Music from Act III of "Die Walkure"

WILHELM RICHARD WAGNER was born in Leipzig, Saxony, on May 22, 1813, and died in
Venice on February 13, 1883. Wagner wrote a prose sketch for "Die Walkure" in May 1852 and
then the libretto between June 1 and July 1 that same year. After sketching the music between June
28 and December 27, 1854, he wrote out the autograph score between January 1855 and March 23,
1856. The premiere took place in Munich on June 26, 1870. The first performance as part of
Wagner's complete "Ring" cycle took place at Bayreuth on August 14, 1876.

THE INSTRUMENTATION FOR THESE EXCERPTS includes three flutes and two piccolos, three
oboes and English horn, three clarinets and bass clarinet, three bassoons, eight horns, three trum-
pets, bass trumpet, three trombones and bass trombone, tuba, timpani (two players), glockenspiel,
triangle, cymbals, two harps, and strings.

In October 1848, after some years of studying the Teutonic and Norse mythologies and
sagas, Richard Wagner produced his essay "The Nibelungen Myth as Scheme for a
Drama." Nearly three decades later, in August 1876, Der Ring des Nibelungen received its
first complete performance, in the theater at Bayreuth that Wagner had built to his own
specifications. The history of the Ring is long and complicated, the prose sketch for what
was originally conceived as a single opera entitled Siegfrieds Tod (Siegfried's Death)—
the predecessor to the work we now know as Gotterdammerung (Twilight of the Gods)—
ultimately being expanded backwards as Wagner deemed it necessary to provide addi-
tional background to each successive stage of his epic drama. The prose sketches for
Derjunge Siegfried, Das Rheingold, and Die Walkure date from the early 1850s, and it was
also around this time that Wagner settled on the overall title for his seventeen-hour,
four- night work: Der Ring des Nibelungen. Ein Buhnenfestspiel fur drei Tage und einen Vorabend
("The Nibelung's Ring. A Stage-Festival-Play for three days and a preliminary evening").
The musical sketches for Siegfrieds Tod date back to 1850, but the four operas of the

Watercolor of Wagner by Clementine Stockar-Escher

OPENING NIGHT PROGRAM NOTES

Ring— Das Rheingold, Die Walkure, Siegfried, and Gotterdammerung—were composed
essentially in order over a twenty-year span (the music of Die Walkure occupying him
from June through December, 1854), though this was interrupted— given the lack of
prospects for seeing the Ring produced, but likely also because the musical composition
itself had become unmanageable for him— during his work on Act II of Siegfried in July
1857. It was only after composing Tristan and Isolde and Die Meistersinger von Nurnberg
that he returned to work on the Ring in March 1869, with a strength, determination, and
certainty that would flow unimpeded through the closing pages of Gotterdammerung, the
full score of which he completed in November 1874.

Perhaps the most important thing the uninitiated listener needs to know about Wagner's
music is that, though conceived for the theater, it is essentially symphonic in its treatment
of the orchestra, which he uses, in two basic ways, to support some of the largest musical
structures ever conceived: (1) through his use of leitmotifs (not his own term), musical
motives or themes that represent not just characters and objects, but even thoughts,
attitudes, and psychological stances; and (2) through the large-scale repetition or ^in-
terpretation of large chunks of music, thereby providing significant points of arrival within
both the musical structure and the dramatic progress of the story. Beyond that, it's also
important to say that even Wagner himself could never conveniently summarize what
the Ring is actually about and, because of changes he made to his text along the way, was
ultimately left to suggest that the music itself had to provide the last word. On the other
hand, there's no question that the Ring touches upon a great many subjects of consider-
able importance— power, greed, love, gods, humans, society, loyalty, betrayal, hope, and
redemption, among various other things that its interpreters have seen fit to catalogue.

In Das Rheingold, the prologue to the tetralogy, Alberich, the ruler of a subterranean race
called the Nibelungs, steals the Rhinegold from its resting place in the waters of that
river and forges it into a ring that brings its wearer ultimate power (hence the name of
the cycle, "The Nibelung's Ring": Alberich is the Nibelung of the title). Wotan, the head
god, steals the ring from Alberich, who in turn lays upon the ring a curse that condemns
its wearer to death. Wotan loses the ring to the giants Fasolt and Fafner as part of his
payment to them for their building of the gods' home, Valhalla. Fafner kills Fasolt so he
can have the ring, and the treasure that accompanies it, for himself (he'll turn up again in
Siegfried, transformed into a dragon). Wotan resolves to regain the ring, but, for reasons
too complicated to explain here, he can only do this indirectly, through an individual not
acting explicitly as Wotan's own agent. To this end he fathers the twins Siegmund and
Sieglinde by a mortal mother.

The first two acts of Die Walkure tell the story of Siegmund and Sieglinde: separated as
infants, they now meet, immediately fall in love, and consummate that love. Despite the
compassion and protection of the Valkyrie Brunnhilde— Wotan's favorite daughter, who is
the opera's title character— Siegmund is killed by Sieglinde's husband Hunding, Wotan's
wife Fricka having insisted that Wotan uphold the sanctity of marriage by letting Siegmund
die. It is Brunnhilde's attempt to save Siegmund, defying Wotan's command that she not

Baritone Franz Betz (1835-1900),
Wotan in the 1876 Bayreuth
premiere of Wagner's "Ring"

do so, that determines her fate at the end of the opera, as explained below. (Early in Act
III of Die Walkure we learn that Sieglinde has become pregnant by Siegmund; her child
will be named Siegfried, and in him will rest Wotan's hope for regaining the ring now that
his plan involving Siegmund has failed. Ultimately that hope, too, will be thwarted, as
the events of Siegfried and Gotterdammerung run their course— a course far too long to
chronicle further here.)

The Ride of the Valkyries opens the third act of Die Walkure and accompanies the gath-
ering of Brunnhilde's eight airborne Valkyrie-sisters at the Valkyries' rock, where they
collect the bodies of slain heroes before transporting them to Valhalla. In the opera
house, the music is punctuated by the warrior maidens' "Ho-jo-to-jo!" war cry; the less
heavily scored sections accompany their cheerful banter as they unshoulder their bur-
dens. Wagner includes in his music "such realistic effects as the thunderous gallop and
the panting and whinnying of the horses" (to quote Ernest Newman).

In the opera house, the Ride of the Valkyries moves directly into the scene of Brunnhilde's
arrival with Sieglinde at the Valkyries' rock, the enraged Wotan meanwhile following in
fast pursuit. Terrified of her father's wrath, Brunnhilde manages to head Sieglinde toward
safety (with the fragments of Siegmund's shattered sword, to be reforged later by Sieg-
fried in Act I of the cycle's next opera) before Wotan arrives and decrees her punishment
for disobeying him: he will strip Brunnhilde of her godly powers and leave her asleep on
the rock, fated to marry whatever man first finds her. Left alone with her father following
the departure of the other Valkyries, Brunnhilde pleads for at least some protection, beg-
ging Wotan to conjure around the Valkyries' rock a magic fire that will prevent anyone
but a hero from penetrating it to find her. Her entreaties win out, and in Wotan's Farewell

OPENING NIGHT PROGRAM NOTES

to his daughter, which closes the opera, he agrees to her request, says his last good-bye,
kisses her asleep (thereby also turning her mortal), and commands the fire-god Loge to
surround the rocky crag with protective flames.

Marc Mandel

THE FIRST BOSTON SYMPHONY PERFORMANCE OF RIDE OF THE VALKYRIES took place in
May 1886 with Wilhelm Gericke conducting. The most recent subscription performances were given
by Erich Leinsdorf in the 1963-64 season. The most recent BSO performance of Ride of the Valkyries
was at Tanglewood on July 20, 1986, when Edo de Waart led a selection of orchestral excerpts from
Wagner's "Ring."

CONDUCTOR GEORG HENSCHEL WAS SOLOIST FOR THE FIRST BOSTON SYMPHONY
PERFORMANCE of Wotan's Farewell in December 1882 (the program book lists no additional
conductor). Other soloists with the orchestra in Wotan's Farewell have included Emit Fischer (with
Wilhelm Gericke); Theodor Reichmann and Heinrich Meyer (both with Arthur Nikisch); Max
Heinrich, Pol Plancon, and Ffrangcon Davies (all with Emil Paur); Anton Van Rooy (with Gericke),
Herbert Witherspoon (with Max Fiedler and Karl Muck); Clarence Whitehill and Charles H. Bennett
(both with Pierre Monteux); David Blair McClosky and Mack Harrell (with Serge Koussevitzky);
James Pease (with Monteux); Ezio Flagello (with Erich Leinsdorf, at Tanglewood on August 22,
1964; then again on August 20, 1967, on which occasion Leinsdorf led the same sequence of
excerpts being performed tonight), and Robert Hale (with William Steinberg, in April 1972, on the
closing concerts of the BSO's 1971-72 season— the orchestra's most recent performance of Wotan's
Farewell and Magic Fire Music until tonight).

Wotan's Farewell, from "Die Walkure," Act III

Leb' wohl, du kuhnes, herrliches Kind!

Du meines Herzens heiligster Stolz.

Leb' wohl! Leb' wohl! Leb' wohl!

Muss ich dich meiden,

und darf nicht minnig

mein Gruss dich mehr grussen;

sollst du nicht mehr neben mir reiten,

noch Met beim Mahl mir reichen;

muss ich verlieren dich, die ich liebe,

du lachende Lust meines Auges:

ein brautliches Feuer soil dir nun brennen,

wie nie einer Braut es gebrannt!

Flammende Glut umgluhe den Fels;

mit zehrenden Schrecken

scheuch' es den Zagen;

der Feige flieh Brunnhildes Fels!

Denn einer nur freie die Braut,

der freier als ich, der Gott!

Farewell, you valiant, glorious child.

You, the most sacred pride of my heart.

Farewell! Farewell! Farewell!

If I must shun you,

and no more offer

to you my loving greeting;

if you no longer can ride alongside me,

nor bring me mead at mealtime;

if I must forsake you, you whom I love,

you smiling delight of my eyes:

a bridal fire shall burn for you

as never has burned for a bride!

A blazing glow shall surround the rock;

with consuming terror

let the fainthearted fear it:

cowards shall flee Brunnhilde's rock!

Thus only one shall claim the bride:

one freer than I, the god!

(Brunnhilde sinks, overwhelmed with joy, upon Wotan's breast.)

Der Augen leuchtendes Paar,

das oft ich lachelnd gekost,

wenn Kampfeslust ein Kuss dir lohnte,

wenn kindisch lallend der Helden Lob

von holden Lippen dir floss:

dieser Augen strahlendes Paar,

das oft im Sturm mir geglanzt,

wenn Hoffnungssehnen das Herz mir sengte,

nach Weltenwonne mein Wunsch verlangte

aus wild webendem Bangen:

zum letztenmal

letz' es mich heut'

mit des Lebewohles letztem Kuss!

Dem glucklichern Manne

glanze sein Stern:

dem unseligen Ew'gen

muss es scheidend sich schliessen.

Denn so kehrt der Gott sich dir ab,

so kusst er die Gottheit von dir!

Your eyes, so radiant a pair,
that oft', with smiles, I caressed:
when lust for battle earned you a kiss;
when childlike babble in praise of heroes
from your dear lips flowed forth:
these eyes, so shining a pair,
that oft', in storms, brought me light;
when hopeful yearnings would scorch

my heart—
my wishful yearning for worldly pleasure
'midst wild, wavering worries:
this one last time
let them soothe me today,
with this farewell-parting's final kiss!
On a man more fortunate
may their star shine;
toward me, unhappy immortal,
must they close now in parting.
So the god now departs from you;
thus he kisses your godhead away!

(He kisses her eyes; she sinks down, eyes closed, into his arms. He carries her tenderly to a low
mossy bank shaded by a large fir tree, sets her down, gazes once more upon her features, closes
the visor of her helmet, and looks tenderly upon her once more before covering her body with her
shield. Then, with solemn determination, he turns the point of his spear toward a mighty crag.)

Loge, hor! Lausche hieher!

Wie zuerst ich dich fand, als feurige Glut,

wie dann einst du mir schwandest,

als schweifende Lone;

wie ich dich band, bann' ich dich heut!

Herauf, wabernde Lohe,

umlodre mir feurig den Fels!

Loge, hear! Attend to me here!

As once I first found you, a burning fire,

as you then once escaped me,

like a wandering flame:

as once I bound you, I conjure you now!

Rise up, flickering fire,

blaze for me, encircle the rock!

(He strikes the rock three times with his spear.)

Loge! Loge! Hieher!

Loge! Loge! Come here!

(A flash of flame emanates from the rock and grows increasingly brighter. Bright, flickering flames
then surround Wotan, who, with his spear, directs the flames to encircle first the rock, and then the
entire mountain.)

Wer meines Speeres Spitze furchten,
durchstreite das Feuer nie!

Richard Wagner

He who's fearful of my spear-point
shall never set foot through this fire!

Translation ©Marc Mandel

OPENING NIGHT PROGRAM NOTES

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2010-2011 SEASON

Ed t her Neldon — General eJ Art id tic Director
David Angud — Mudic Director

Richard Wagner

Overture and the Dutchman's monologue

("Die Frist ist um")from "Der fliegende Hollander"

WILHELM RICHARD WAGNER was born in Leipzig, Saxony, on May 22, 1813, and died in
Venice on February 13, 1883. Wagner made a prose sketch for "The Flying Dutchman" in the
spring of 1840, the libretto following between May 18 and 28, 1841. He sketched the music from
July until November 5, 1841, and completed the autograph score on November 19 that same year.
The first performance took place on January 2, 1843, in Dresden.

THE ORCHESTRA FOR THE OVERTURE includes two flutes and piccolo, two oboes and English
horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, harp,
and strings. The orchestra for the Dutchman's monologue is the same but for the omission of
English horn and harp.

In his earliest works for the stage, Wagner moved from one model to another with almost
bewildering rapidity— Weber and Marschner for Die Feen (The Fairies; 1833-34), Auber and
Donizetti for Das Liebesverbot (The Ban Against Love; 1834-36), and Meyerbeer for his first
real success, Rienzi, der Letzte der Tribunen (Rienzi, the Last of the Tribunes; 1837-40)— giv-
ing him the experience of writing for the stage in every style going in the 1830s. But none
was satisfactory to him. Coming soon after Rienzi, The Flying Dutchman marked an aston-
ishing advance in the development of the composer's personality and dramatic concerns.
Indeed, from our vantage point, we can perceive several ways in which Dutchman, for the
first time, shows us the "real" Wagner, though a Wagner whose style would develop
markedly in the years to come. Already we find the characteristic theme of the protago-
nist's redemption through the unquestioning love of a woman, a theme that returns time
and time again in Wagner's music. And we find the repeated use of characteristic thematic
ideas (later called leitmotifs) to recall characters, incidents, or psychological states.

In the Overture to "The Flying Dutchman," the vividness of the music associated with

Drawing by Ernst Benedikt Kietz, 1840-42

OPENING NIGHT PROGRAM NOTES

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Poster for the premiere of
"The Flying Dutchman"

the sea and its stormy countenance is surely a reflection of Wagner's own dangerous and
uncomfortable voyage in 1839 when, trying to avoid his creditors, he embarked at Riga
with his wife and their Newfoundland dog on a voyage for England and, ultimately, Paris.
The ship, which had no accommodations for passengers, encountered a fearful Baltic
storm and took shelter on the coast of Norway. As he recalled later in his biography Mein
Leben:

The passage through the Norwegian fjords made a wondrous impression on my fancy.
A feeling of indescribable well-being came over me when the enormous granite walls
echoed the hail of the crew as they cast anchor and furled the sails. The sharp rhythm
of this call clung to me like an omen of good cheer, and shaped itself presently into the
theme of the seamen's song in my Flying Dutchman, the idea for which I already carried
within me at the time and which now, under the impressions I had just gained, took on
its own characteristic musico-poetic coloring.

The Flying Dutchman tells the story of a Dutch sea captain condemned by his own curse
to sail with his crew for all eternity until he finds a woman who will love him faithfully
until death. Every seven years he is allowed a respite to seek such a woman. The overture
is tautly constructed on thematic ideas from various parts of the opera, but the main
themes at the outset (a horn theme representing the Dutchman, heard first over tremolo
strings; and a sweetly consoling melody for English horn) both come from the heroine
Senta's ballad recounting the Dutchman's legend, the first music Wagner composed for
the score. These two ideas contend musically in a development passage that suggests
the stormy sea and the storms in the Dutchman's heart. Suddenly the horns blare out a
three-note figure in unison, silencing the orchestra— the call of the Norwegian sailors.
Gradually the mood turns cheerier, as the storm dissipates and the sailors dance (to
music taken literally from the opera's final act). This is but a brief respite, for soon the
dramatic and musical contest begins again, now with three elements— the Dutchman,

the sailors' dance, and Senta's prayer. This dramatic interpretation of the story to follow
finally culminates in a D major coda, in which Senta's prayer becomes a shout of triumph,
giving way (in an ending added years later to the overture by the mature Wagner) to
ecstatic music representing the transfiguration of Senta and the Dutchman that occurs
at the very end of the opera.

As the work opens, the most recent seven-year period has ended, and the Dutchman
lands on the coast of Norway, expecting once again to meet his hopeless fate, for every
previous attempt to find the woman who will redeem him has ended in failure, confirm-
ing his cynicism. In Wagner's opera he finally does achieve release, through the self-
sacrifice of Senta; but in his first appearance, with his opening monologue "Die Frist ist
urn" ("The term is up"), he can only express the utterly cynical and tormented view that
has by now consumed him for so long a time.

Steven Ledbetter

STEVEN LEDBETTER was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

THE FIRST BOSTON SYMPHONY PERFORMANCE OF THE OVERTURE TO "THE FLYING
DUTCHMAN" took place in May 1886 with Wilhelm Gericke conducting. The overture was heard
most recently in BSO subscription concerts in March 2005, when James Levine led concert perform-
ances of the complete opera. Prior to that, the most recent subscription performances of the overture
were led by William Steinberg in the 1972-73 season and then again in January 1974, following
which there were Tanglewood performances led by Charles Dutoit (July 1987), Jesus Lopez-Cobos
(July 1992), James Conlon (July 2000), and Dutoit again (July 2005, the orchestra's most recent
performance of the overture).

THE ONLY PREVIOUS BSO PERFORMANCES of the Dutchman's monologue, "Die Frist ist urn,"
featured Bryn Terfel on September 24, 1997, in that season's Opening Night concert led by Seiji
Ozawa, and Juha Uusitalo, who sang the role of the Dutchman in the complete concert performances
led by James Levine in March 2005.

OPENING NIGHT PROGRAM NOTES 39

The Dutchman's monologue ("Die Frist ist um")
from "Derfliegende Hollander"

Die Frist ist um, und abermals

verstrichen sind sieben Jahr'.

Voll Oberdruss wirft mich

das Meer ans Land....

Ha, stolzer Ozean!

In kurzer Frist sollst du mich wieder tragen!

Dein Trotz ist beugsam—

doch ewig meine Qual!

Das Heil, das auf dem Land ich suche,

nie werd' ich es finden!

Euch, des Weltmeers Fluten,

bleib' ich getreu, bis eure letzte Welle

sich bricht,
und euer letztes Nass versiegt!

The time's come round, and once again

the seven years have run their course.

Weary of me, the sea casts me

once more onto the land....

Ha, proud ocean!

In a short time you'll need, again, to

carry me!
Your stubbornness wanes-
yet my torment is eternal!
The redemption that I seek on land-
never will I find it!
To you, swells of the world's seas,
I remain faithful, until your last wave

breaks,
and your last torrent runs dry!

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Wie oft in Meeres tiefsten Schlund
sturzt' ich voll Sehnsucht mich hinab;
doch ach! den Tod, ich fand ihn nicht!
Da, wo der Schiffe furchtbar Grab,
trieb mein Schiff ich zum Klippengrund:
doch ach! mein Grab, es schloss sich nicht!
Verhohnend droht' ich dem Piraten,
im wildem Kampfe hofft' ich Tod:
"Hier"— rief ich— "zeige deine Taten!
Von Schatzen volls ist Schiff und Boot."
Doch ach! Des Meers barbar'scher Sohn
schlagt bang das Kreuz und flieht davon.

Wie oft in Meeres tiefsten Schlund
sturzt' ich voll Sehnsucht mich hinab.
Da, wo der Schiffe furchtbar Grab,
Trieb mein Schiff ich zum Klippengrund:
Nirgends ein Grab! Niemals der Tod!
Dies der Verdammnis Schreckgebot.

Dich frage ich, gepriesner Engel Gottes,
der meines Heils Bedingung mir gewann:

war ich Unsel'ger Spielwerk deines Spottes,

als die Erlosung du mir zeigtest an?

[Dich frage ich...]

Vergebne Hoffnung!

Furchtbar eitler Wahn!

Um ew'ge Treu auf Erden— ist's getan!

Nur eine Hoffnung soil mir bleiben,
nur eine unerschuttert stehn:
so lang der Erde Keim auch treiben,
so muss sie doch zu Grunde gehn.
Tag des Gerichtes! Jungster Tag!
Wann brichst du an in meine Nacht?

Wann droht er, der Vernichtungsschlag,
mit dem die Welt zusammenkracht?
Wann alle Toten auferstehn,
dann werde ich in Nichts vergehn.
Ihr Welten, endet euren Lauf!
Ew'ge Vernichtung, nimm mich auf!

Richard Wagner

How often, into the sea's deepest abyss,
have I, full of longing, cast myself;
yet, alas!— I've not found death!
There, toward rocky reefs where ships
find frightful graves, I've steered my own:
yet, alas!— my own grave fails to close!
Scoffing at them, I've menaced pirates,
hoping to die in fierce combat:
"Here," I've cried; "Prove yourself—
it's full of treasures, this, my ship!"
Yet, alas!— the sea's barbaric son
just crossed himself, and fled in fear.

How often, into the sea's deepest abyss,
have I, full of longing, cast myself!
There, toward rocky reefs where ships
find frightful graves, I've steered my own:
Still there's no grave! Death never comes!
Such is the damned one's hideous fate.

I ask you now, o god's exalted angel,
who won for me the terms of my

redemption:
was I the accursed plaything of your

scorn
when you pointed the way toward my

salvation?
[I ask you now...]
Vain hope!

Horrible, empty delusion!
To seek eternal faithfulness on earth:

there's none!

Just one sole hope remains for me,
just one alone, unwavering, remains:
so long as the earth puts forth new buds,
so must it still at some point die.
Day of judgment! Day of doom!
When breaks your dawn to end my

night?
When will it, the stroke of destruction,
burst the world asunder?
When all the dead have risen up,
then will I, into nothingness, perish. -
You planets, end your course!
Eternal extinction: take me— now!

Translation ©Marc Mandel

OPENING NIGHT PROGRAM NOTES

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To Read and Hear More...

The most useful books on Wagner remain generally available, either new or used, even
as they go in and out of print. Ernest Newman's The Wagner Operas offers detailed histor-
ical and musical analysis of Wagner's operas from The Flying Dutchman through Parsifal
(Princeton University paperback). Newman's equally indispensable Life of Richard Wagner
has been reprinted in paperback (Cambridge University Press; four volumes). Wagner's
autobiography, My Life, was for a while available in a modern English translation by Mary
Whittall (also Cambridge paperback). Good modern biographies include Robert W.
Gutman's Richard Wagner: The Man, his Mind, and his Music (Harvest paperback) and
Curt von Westernhagen's Wagner: A Biography, translated by Mary Whittall (another
Cambridge paperback). Several intriguing, shorter books may be more readily digestible
for many readers: Thomas May's Decoding Wagner: An Invitation to his World of Music
Drama (Amadeus paperback, 2004, including two CDs of excerpts from the operas,
beginning with The Flying Dutchman); Michael Tanner's Wagner (Princeton University
Press, 1996), and Bryan Magee's Aspects of Wagner (Oxford paperback, second edition,
1988). The Wagner article by Barry Millington from the 2001 Grove Dictionary of Music
and Musicians has been published separately as The New Grove Wagner (Oxford paper-
back), superseding the previous New Grove Wagner derived from, but also expanding
upon, the Wagner entry in the 1980 edition of Grove (Norton paperback). Millington is
also the editor of The Wagner Compendium: A Guide to Wagner's Life and Music (Schirmer).
Richard Wagner and his World, a wide-ranging collection of critical essays and other

r*Join the Boston Wagner Society

Learn more about Wagner's profound,
enchanting music with other Boston-area opera lovers

Lectures, newsletter, live performances

617-323-6088
BostonWagnerSociety.org

OPENING NIGHT READ AND HEAR MORE 43

the Performing Arts

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materials edited by Thomas S. Grey, in the Bard Music Festival series, is a noteworthy
recent addition to the Wagner bibliography (Princeton University paperback, 2009).
Wagner: A Documentary Study ; compiled and edited by Herbert Barth, Dietrich Mack, and
Egon Voss, is an absorbing and fascinating collection of pictures, facsimiles, and prose,
the latter drawn from the writings and correspondence of Wagner and his contemporaries
(Oxford University Press; out of print, but well worth seeking).

James Levine's complete Metropolitan Opera Ring cycle, with James Morris as Wotan, is
available, with some differences in casting, in both audio and video formats (Deutsche
Grammophon). Levine has recorded The Flying Dutchman with the Metropolitan Opera
Orchestra and Chorus and James Morris in the title role (Sony Classical). With the
Metropolitan Opera Orchestra he has also made separate recordings of the Dutchman's
monologue, "Die Frist ist urn," on a disc featuring Bryn Terfel in a varied collection of
opera arias (Deutsche Grammophon), and of the Dutchman Overture, on a disc with
other orchestral selections by Wagner, among them the Prelude to Act I of Die Meistersinger
(Deutsche Grammophon). A complete, Levine-led Metropolitan Opera performance of
Die Meistersinger von Nurnberg, with James Morris as Hans Sachs, is available on DVD
(Deutsche Grammophon).

Marc Mandel

BOSTON SYMPHONY ORCHESTRA

BUSINESS PARTNERS

True Economic Impact

For Boston and Beyond

BSO Business Partners help the Boston Symphony
Orchestra reach the widest audience of any
symphonic organization in the world.

Membership benefits include opportunities to:

• Entertain clients

• Reward employees

• Partner with the BSO for enhanced visibility

FOR FURTHER INFORMATION OR TO BECOME A MEMBER, PLEASE

Kerri Cleghorn, Associate Director, Business Partners
617-638-9277 I kcleghornfa bso.org

OPENING NIGHT READ AND HEAR MORE

BSO Major Corporate Sponsors

2010-11 Season

Boston Symphony Orchestra and Symphony Holl major corporate sponsorships reflect the increasing
importance of alliance between business and the arts. The BSO is honored to be associated with
the following companies and gratefully acknowledges their partnership. For information regarding
BSO, Boston Pops, and/or Tanglewood sponsorship opportunities, contact Alyson Bristol, Director
of Corporate Sponsorships, at (617) 638-9279 or at abristol@bso.org.

UBS

Stephen H. Brown

Managing Director
New England Region

UBS is proud to be the exclusive season sponsor of the Boston
Symphony Orchestra.

The BSO demonstrates the highest level of musical excellence
where musicians display an unsurpassed level of attention to
detail and collaboration. This partnership reflects our philosophy
of working collaboratively with clients to deliver customized
solutions to help them pursue their financial goals.

We are looking forward to an extraordinary season at Symphony
Hall and we hope you will continue to share the experience with
your friends and family.

Joe Tucci

Chairman, President,
and CEO

EMC?

where information lives*

EMC is pleased to continue our longstanding partnership with the Boston Symphony
Orchestra. We are committed to helping preserve the wonderful musical heritage
of the BSO so that it can continue to enrich the lives of listeners and create a new
generation of music lovers.

Paul Tormey

Regional Vice President
and General Manager

COPLEY PLAZA

BOSTON

The Fairmont Copley Plaza Boston together with Fairmont Hotels & Resorts is proud
to be the official hotel of the BSO. We look forward to many years of supporting this
wonderful organization. For more than a century Fairmont Hotels & Resorts and
the BSO have graced their communities with timeless elegance and enriching
experiences. The BSO is a New England tradition and like The Fairmont Copley
Plaza, a symbol of Boston's rich tradition and heritage.

Dawson Rutter

President and CEO

OMMONWEALTH
WORLDWIDE

CHAUFFEURED TRANSPORTATION

Commonwealth Worldwide Chauffeured Transportation is proud to be the Official
Chauffeured Transportation of the Boston Symphony Orchestra and Boston Pops.
The BSO has delighted and enriched the Boston community for over a century and
we are excited to be a part of such a rich heritage. We look forward to celebrating
our relationship with the BSO, Boston Pops, and Tanglewood for many years to come.

OPENING NIGHT MAJOR CORPORATE SPONSORS

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Coming Concerts...

PRE-CONCERT TALKS: The BSO offers half-hour Pre-Concert Talks in Symphony Hall prior to all BSO
subscription-season concerts and Open Rehearsals, except for the new Underscore Fridays series (1/14; 2/11;
3/25), which incorporates commentary by the conductor. Free to all ticket holders, Pre-Concert Talks begin
at 6:45 p.m. before evening concerts, at 12:15 p.m. before Friday-afternoon concerts, and one hour before
the start of each Open Rehearsal.

Thursday, October 7, 10:30am (Open Rehearsal)
Thursday 'A' October 7, 8-9:40

Friday 'A' October 8, 1:30-3:10

Saturday 'A' October 9, 8-9:40

Tuesday 'B' October 12, 8-9:40

JAMES LEVINE, conductor
LAYLA CLAIRE, soprano
KAREN CARGILL, mezzo-soprano
TANGLEWOOD FESTIVAL CHORUS,
JOHN OLIVER, conductor

MAHLER Symphony No. 2, Resurrection

Thursday *D' October 14, 8-10:15

Friday 'B' October 15, 1:30-3:45

Saturday 'A' October 16, 8-10:15

JAMES LEVINE, conductor

HARBISON Symphony No. 3

MAHLER Symphony No. 5

Sunday, October 17, 3pm

Jordan Hall, New England Conservatory

BOSTON SYMPHONY CHAMBER PLAYERS

with ANDRE PREVIN, piano

MARTINU

PREVIN

MILHAUD

MOZART

Les Madrigaux for oboe, clarinet,

and bassoon

Ocrer for Eleven, for flute, oboe,

clarinet, bassoon, horn, trumpet,

two violins, viola, cello, and

double bass (world premiere;

BSO commission)

La Cheminee du Roi Rene, for

wind quintet, Op. 205

Piano Quartet in G minor, K.478

Wednesday, October 20, 7:30pm (Open Rehearsal)
Thursday 'C October 21, 8-10:10

Friday 'A' October 22, 1:30-3:40

Saturday 'B' October 23, 8-10:10

Tuesday 'C October 26, 8-10:10

MARCELO LEHNINGER, conductor
PINCHAS ZUKERMAN, violin

BARBER Overture to The School for Scandal

BEETHOVEN Violin Concerto

TCHAIKOVSKY Symphony No. 5

Programs and artists subject to change.

massculturalcouncil.org

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the
Symphony Hall box office, online at bso.org, or by calling "SymphonyCharge" at (617) 266-1200 or toll free
at (888) 266-1200, Monday through Friday from 10 a.m. until 6 p.m. (Saturday from 12 noon until 6 p.m.)
Please note that there is a $5. SO handling fee for each ticket ordered by phone or over the internet.

OPENING NIGHT COMING CONCERTS

Symphony Hall Exit Plan

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AVENUE

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MASSACHUSETTS AVENUE

IN CASE OF EMERGENCY

Follow any lighted exit sign to street.
Do not use elevators.
Walk, do not run.

Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program
information, call "C-O-N-C-E-R-T" (266-2378).

The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For infor-
mation about any of the orchestra's activities, please call Symphony Hall, visit bso.org, or write to the Boston
Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115.

The BSO's web site (bso.org) provides information on all of the orchestra's activities at Symphony Hall and at
Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a
secure credit card transaction.

The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the
Symphony Hall West Entrance on Huntington Avenue.

In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the
building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to
instructions.

For Symphony Hall rental information, call (617) 638-9240, or write the Director of Event Services, Symphony
Hall, Boston, MA 02115.

The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday).
On concert evenings it remains open through intermission for BSO events or a half-hour past starting time for
other events. In addition, the box office opens Sunday at 12 noon when there is a concert that afternoon or
evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most
outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or
through SymphonyCharge.

To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash
are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then
send payment by check, call "SymphonyCharge" at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through
Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets
can also be purchased online. There is a handling fee of $5.50 for each ticket ordered by phone or online.

Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of
twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment
options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255.

For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue
and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are avail-
able inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431
or TDD/TTY (617) 638-9289.

Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient
pause in the program. Those who need to leave before the end of the concert are asked to do so between pro-
gram pieces in order not to disturb other patrons.

In consideration of our patrons and artists, children four years old or younger will not be admitted to Boston
Symphony Orchestra concerts.

Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket,
you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-
9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat

OPENING NIGHT SYMPHONY HALL INFORMATION ( 51

available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible
contribution.

Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on
Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the
Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on
Fridays as of 10 a.m. and Tuesdays and Thursdays as of 5 p.m. Please note that there are no Rush Tickets avail-
able for Friday or Saturday evenings.

Please note that smoking is not permitted anywhere in Symphony Hall.

Camera and recording equipment may not be brought into Symphony Hall during concerts.

Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street.

First aid facilities for both men and women are available. On-call physicians attending concerts should leave their
names and seat locations at the Cohen Wing entrance on Huntington Avenue.

Parking: The Symphony Garage, Prudential Center Garage, and Copley Place Garage offer discounted parking to
any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special ben-
efit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who
attend evening concerts. For more information, call the Subscription Office at (617) 266-7575.

Elevators are located outside the Hatch and Cabot-Cahners rooms on the Massachusetts Avenue side of
Symphony Hall, and in the Cohen Wing.

Ladies' rooms are located on both main corridors of the orchestra level, as well as at both ends of the first bal-
cony, audience-left, and in the Cohen Wing.

Men's rooms are located on the orchestra level, audience-right, outside the Hatch Room near the elevator; on
the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen

Wing.

Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the Hatch and Cabot-
Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other
property of patrons.

Lounges and Bar Service: There are two lounges in Symphony Hall. The Hatch Room on the orchestra level and
the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For
the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink
coupons may be purchased in advance online or through SymphonyCharge for all performances.

Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live
in the Boston area by 99.5 All-Classical.

BSO Friends: The Friends are donors who contribute $75 or more to the Boston Symphony Orchestra Annual Funds.
For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail friendsofthebso@bso.org.
If you are already a Friend and you have changed your address, please inform us by sending your new and old
addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a
quick and accurate change of address in our files.

Business for BSO: The BSO Business Partners program makes it possible for businesses to participate in the life of
the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the
Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information,
please call the BSO Business Partners Office at (617) 638-9277 or e-mail bsobusinesspartners@bso.org.

The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open
Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances, including Open Rehearsals,
through intermission. The Symphony Shop features exclusive BSO merchandise, including the Symphony Lap
Robe, calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop
also carries children's books and musical-motif gift items. A selection of Symphony Shop merchandise is also
available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the
Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383.

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PHOTO! TERESA NOL'RI RISHEL

Encore!

Here's to another outstanding season
with the Boston Symphony Orchestra.

Since 2004, we've been committed to partnering with the Boston Symphony
Orchestra. It has always been a part of our larger commitment to supporting
orchestral music globally as well as partnering with the local communities
where we do business. As a firm that's always believed in collaboration,
we know that with the right partnership, great things can happen.

UBS is the Proud Season Sponsor of the Boston Symphony Orchestra.

~— ^ BOSTON v\

SYMPHONY

ORCHESTRA

IAMJS IEVINE V.S C Di«ECTO«

www.ubs.com/financialservicesinc

UBS

BOSTON

• 4

SYM PHONY

ORCH ESTRA

■MTSP

III

2010-2011 SEASON WEEK 1

James Levine Music Director
Bernard Haitink Conductor Emeritus
Seiji Ozawa Music Director Laureate

RMES
I S, LIFE AS A TALE

Table of Contents Week i

15 BSO NEWS

21 ON DISPLAY IN SYMPHONY HALL

22 BSO MUSIC DIRECTOR JAMES LEVINE
24 THE BOSTON SYMPHONY ORCHESTRA

27 A BRIEF HISTORY OF THE BOSTON SYMPHONY ORCHESTRA

33 THIS WEEK'S PROGRAM

35 FROM THE MUSIC DIRECTOR

Notes on the Program

39 Gustav Mahler

57 To Read and Hear More...

Guest Artists

61 Layla Claire

62 Karen Cargill

64 Tanglewood Festival Chorus
67 John Oliver

70 SPONSORS AND DONORS

80 FUTURE PROGRAMS

82 SYMPHONY HALL EXIT PLAN

83 SYMPHONY HALL INFORMATION

THIS WEEK S PRE-CONCERT TALKS ARE GIVEN BY BSO DIRECTOR
OF PROGRAM PUBLICATIONS MARC MANDEL (OCTOBER 8, 12)
AND ASSISTANT DIRECTOR OF PROGRAM PUBLICATIONS
ROBERT KIRZINGER (OCTOBER 7, 9).

program copyright ©2010 Boston Symphony Orchestra, Inc.
design by Hecht Design, Arlington, MA
cover photograph by Michael J. Lutch

BOSTON SYMPHONY ORCHESTRA
Symphony Hall, 301 Massachusetts Avenue
Boston, MA 02115-4511
(617) 266-1492 bso.org

THE JOURNEY TO THE

PRIVATE CLOUD

STARTS NOW

EMC is proud to support the Boston Symphony Orchestra.
Learn more atwww.EMC.com/bso.

EMC

where information lives

endary.

HARVARD EXTENSION SCHOOL

Select courses:

• 12 foreign languages

• A History of Blues in America

• Velazquez and His Legacy

• Poetry and Fiction Writing

Museum Studies
Modern Drama
Milton and Paradise Lost
Shakespeare's Later Plays

www.extension.harvard.edu/arts

HARVARD UNIVERSITY EXTENSION SCHOOL

Harvard University Extension School is proud to support the Boston Symphony Orchestra.

Healthy is

kavMg busier 'w\m life

Fill in YOUR blank

bidmc.org/healthyis

Beth Israel Deaconess | S^SStSL

Medical Center

JAMES LEVINE, MUSIC DIRECTOR

RAY AND MARIA STATA MUSIC DIRECTORSHIP, FULLY FUNDED IN PERPETUITY

BERNARD HAITINK, CONDUCTOR EMERITUS
LACROIX FAMILY FUND, FULLY FUNDED IN PERPETUITY

SEIJI OZAWA, MUSIC DIRECTOR LAUREATE

130th season, 2010-2011

TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, INC.

Stephen B. Kay and Robert P. O'Block, Co-Chairmen • Edmund Kelly, Chairman-Elect •

Paul Buttenwieser, Vice-Chairman • Diddy Cullinane, Vice-Chairman • Roger T. Servison, Vice-Chairman

Stephen R. Weber, Vice-Chairman • Vincent M. O'Reilly, Treasurer

William F. Achtmeyer • George D. Behrakis • Alan Bressler • Jan Brett • Samuel B. Bruskin •

Eric D. Collins • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Judy Moss Feingold, ex-officio

Nancy J. Fitzpatrick ■ Michael Gordon • Brent L. Henry • Charles H. Jenkins, Jr. • Joyce G. Linde •

John M. Loder • Carmine A. Martignetti • Robert J. Mayer, M.D. • Nathan R. Miller •

Richard P. Morse ■ Aaron J. Nurick, ex-officio • Susan W. Paine ■ Carol Reich • Edward I. Rudman •

Arthur I. Segel ■ Thomas G. Sternberg ■ Theresa M. Stone • Caroline Taylor • Stephen R. Weiner ■

Robert C. Winters

LIFE TRUSTEES

Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J. P. Barger • Leo L. Beranek •
Deborah Davis Berman • Peter A. Brooke ■ Helene R. Cahners • James F. Cleary • John F. Cogan, Jr. •
Mrs. Edith L. Dabney ■ Nelson J. Darling, Jr. • Nina L. Doggett ■ Mrs. John H. Fitzpatrick •
Dean W. Freed • Thelma E. Goldberg • Edna S. Kalman ■ George Krupp • Mrs. August R. Meyer •
Mrs. Robert B. Newman ■ William J. Poorvu • Irving W. Rabb • Peter C. Read • Richard A. Smith •
Ray Stata • John Hoyt Stookey • Wilmer J. Thomas, Jr. • John L. Thorndike • Dr. Nicholas T. Zervas

OTHER OFFICERS OF THE CORPORATION

Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer •
Suzanne Page, Clerk of the Board

BOARD OF OVERSEERS OF THE BOSTON SYMPHONY ORCHESTRA, INC.

Judy Moss Feingold, Chairman • Noubar Afeyan • David Altshuler • Diane M. Austin • Judith W. Barr
Lucille M. Batal ■ Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose •
Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne Burke • Ronald G. Casty •
Richard E. Cavanagh • Carol Feinberg Cohen ■ Susan Bredhoff Cohen • Richard F. Connolly, Jr. •
Charles L. Cooney • Ranny Cooper • James C. Curvey ■ Gene D. Dahmen • Jonathan G. Davis •
Paul F. Deninger • Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson •
Ursula Ehret-Dichter • John P. Eustis II • Joseph F. Fallon • Thomas E. Faust, Jr. • Steven S. Fischman •
John F. Fish • Sanford Fisher • Robert Gallery • Robert P. Gittens ■ Carol Henderson •
Stuart Hirshfield • Susan Hockfield ■ Roger Hunt • William W. Hunt • Valerie Hyman •
Ernest Jacquet • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow •
Stephen R. Karp • Douglas A. Kingsley • Robert Kleinberg • John L. Klinck, Jr. • Farla H. Krentzman •
Peter E. Lacaillade • Charles Larkin • Robert J. Lepofsky ■ Nancy K. Lubin • Jay Marks •
Jeffrey E. Marshall • C. Ann Merrifield • Dr. Martin C. Mihm, Jr. • Robert Mnookin •

WEEK 1 TRUSTEES AND OVERSEERS

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photos by Michael J. Lutch

Paul M. Montrone ■ Sandra 0. Moose ■ Robert J. Morrissey • J. Keith Motley, Ph.D. •

Cecile Higginson Murphy • Peter Palandjian • Vincent Panetta, Jr. • Joseph Patton • Ann M. Philbin •

Wendy Philbrick • May H. Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Joyce L. Plotkin ■

Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • John Reed •

Dr. Carmichael Roberts ■ Susan Rothenberg ■ Alan Rottenberg • Joseph D. Roxe • Kenan Sahin •

Donald L. Shapiro • Gilda Slifka • Christopher Srmallhorn • Michael B. Sporn, M.D. •

Margery Steinberg ■ Patricia L. Tambone • Jean Tempel • Douglas Thomas ■ Mark D. Thompson •

Albert Togut ■ Diana Osgood Tottenham • Joseph M. Tucci ■ Robert A. Vogt • David C. Weinstein ■

Christoph Westphal • James Westra • Patricia Plum Wylde • Dr. Michael Zinner ■ D. Brooks Zug

OVERSEERS EMERITI

Helaine B. Allen • Marjorie Arons-Barron • Caroline Dwight Bain • Sandra Bakalar •

George W. Berry • William T. Burgin • Mrs. Levin H. Campbell • Earle M. Chiles •

Mrs. James C. Collias • Joan P. Curhan ■ Phyllis Curtin • Tamara P. Davis ■ Mrs. Miguel de Braganca •

Betsy P. Demirjian • JoAnne Walton Dickinson ■ Phyllis Dohanian • Harriett Eckstein • George Elvin •

Pamela D. Everhart • J. Richard Fennell • Lawrence K. Fish ■ Myrna H. Freedman •

Peter H.B. Frelinghuysen ■ Mrs. Thomas Galligan, Jr. • Mrs. James Garivaltis • Dr. Arthur Gelb •

Jordan Golding • Mark R. Goldweitz • Michael Halperson • John Hamill • Deborah M. Hauser •

Mrs. Richard D. Hill • Marilyn Brachman Hoffman • Lola Jaffe • Michael Joyce ■ Martin S. Kaplan •

Mrs. S. Charles Kasdon • Mrs. Gordon F. Kingsley • David I. Kosowsky ■ Robert K. Kraft •

Benjamin H. Lacy • Mrs. William D. Larkin • Edwin N. London • Frederick H. Lovejoy, Jr. •

Diane H. Lupean • Mrs. Charles P. Lyman • Mrs. Harry L. Marks • Joseph B. Martin, M.D. •

Joseph C. McNay • Albert Merck • John A. Perkins • Dr. Tina Young Poussaint •

Daphne Brooks Prout • Patrick J. Purcell • Robert E. Remis • John Ex Rodgers ■ Roger A. Saunders •

Lynda Anne Schubert • Mrs. Carl Shapiro • L. Scott Singleton • Samuel Thorne ■ Paul M. Verrochi •

Robert A. Wells • Mrs. Joan D. Wheeler ■ Margaret Williams-DeCelles • Mrs. John J. Wilson •

Richard Wurtman, M.D.

EXECUTIVE COMMITTEE OF THE BOSTON SYMPHONY ASSOCIATION OF VOLUNTEERS

Aaron J. Nurick, Chair • Charles Jack, Vice-Chair, Boston • Wilma Michaels, Vice-Chair, Tanglewood •
Audley Fuller, Secretary • Richard Dixon, Co-Chair Education, Boston • Gerald Dreher, Co-Chair
Membership Administration, Boston ■ Ellen Mayo, Co-Chair Community Outreach and Audience
Development, Boston • Augusta Liebowitz, Co-Chair Education, Tanglewood • Alexandra Warshaw,
Co-Chair Membership Administration, Tanglewood • Howard Arkans, Co-Chair Community Outreach
and Audience Development, Tanglewood • William Ballen, Usher Liaison, Tanglewood ■ Ken Singer,
Glass House Liaison, Tanglewood

WEEK 1 TRUSTEES AND OVERSEERS

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Administration

Mark Volpe, Managing Director, Eunice and Julian Cohen Managing Directorship, fully funded in perpetuity

Anthony Fogg, Artistic Administrator

Marion Gardner-Saxe, Director of Human Resources

Ellen Highstein, Director of Tanglewood Music Center, Tanglewood Music Center Directorship

endowed in honor of Edward H. Linde by Alan S. Bressler and Edward I. Rudman

Bernadette M. Horgan, Director of Public Relations

Thomas D. May, Chief Financial Officer

Kim Noltemy, Chief Marketing and Communications Officer

Bart Reidy, Director of Development— Institutional Giving, Events, and Administration

Elizabeth P. Roberts, Director of Development— Campaign and Individual Giving

Ray F. Wellbaum, Orchestra Manager

ADMINISTRATIVE STAFF/ARTISTIC

ADMINISTRATIVE STAFF/PRODUCTION

Christopher W. Ruigomez, Director of Concert Operations

H.R. Costa, Technical Director ■ Leslie DeRoche, Concert Operations Administrator • Vicky Dominguez,
Operations Manager • Jake Moerschel, Assistant Stage Manager • Leah Monder, Production Manager •
John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Mark B. Rulison, Chorus Manager

BOSTON POPS

Dennis Alves, Director of Artistic Planning

Gina Randall, Administrative/Operations Coordinator • Margo Saulnier, Assistant Director of Artistic
Planning • Amanda Severin, Manager of Artistic Services/Assistant to the Pops Conductor

BUSINESS OFFICE

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations
and Compliance • Pam Wells, Controller

Mimi Do, Budget Manager • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant
to the Business Management Team • Karen Guy, Accounts Payable Supervisor • David Kelts, Staff
Accountant • Minnie Kwon, Payroll Associate * John O'Callaghan, Payroll Supervisor • Nia Patterson,
Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant •
Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant

WEEK 1 ADMINISTRATION

RBELLA IS PROUD TO SUPPORT THE

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DEVELOPMENT

Joseph Chart, Director of Major Gifts • Nina Jung, Director of Development Events and Volunteer Outreach •
Ryan Losey, Director of Foundation and Government Relations • Jennifer Roosa, Director of Development
Research and Information Systems ■ George Triantaris, Director of Principal and Planned Giving

Amanda Aldi, Data Project Coordinator • Stephanie Baker, Campaign Manager ■ Susan Beaudry,
Manager of Tanglewood Business Partners • Dulce Maria de Borbon, Beranek Room Hostess •
Cullen E. Bouvier, Donor Relations Officer ■ Maria Capello, Grant Writer ■ Diane Cataudella, Associate
Director of Donor Relations • Sabine Chouljian, Manager of Development Events and Volunteer Services •
Kerri Cleghorn, Associate Director, Business Partners • Allison Cooley, Associate Director of Society
Giving • Emily Diaz, Donor Information and Data Coordinator • Marcy Bouley Eckel, Associate Director
of Direct Fundraising • Laura Frye, Assistant Manager of Society Giving ■ David Grant, Development
Operations Manager • Susan Grosel, Director of Annual Funds • Barbara Hanson, Major Gifts Officer •
Sabrina Karpe, Donor Relations Coordinator • Pam Malumphy, Tanglewood Annual Giving Advisor •
Dominic Margaglione, Donor Ticketing Associate ■ Jill Ng, Senior Major and Planned Giving Officer ■
Suzanne Page, Associate Director for Board Relations • Emily Reeves, Assistant Manager of Planned
Giving • Amanda Roosevelt, Executive Assistant ■ Laura Sancken, Coordinator, Development Events
and Volunteer Services • Joyce M. Serwitz, Major Gifts and Campaign Advisor • Alexandria Sieja,
Assistant Manager of Development Events and Volunteer Services ■ Yong-Hee Silver, Major Gifts
Officer • Erin Simmons, Major Gifts Coordinator ■ Kenny Smith, Acknowledgment and Gift Processing
Coordinator ■ Stephanie J. Smith, Annual Fund Project Coordinator • Mary E. Thomson, Associate
Director of Corporate Giving • Szeman Tse, Assistant Director of Development Research •
Romain Tsiplakis, Graphic Designer

EDUCATION AND COMMUNITY PROGRAMS

Myran Parker-Brass, Director of Education and Community Programs

FACILITIES

C. Mark Cataudella, Director of Facilities

symphony hall operations Christopher Hayden, Facilities Manager • Tyrone Tyrell, Security and
Environmental Services Manager

Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Judith Melly, Facilities Coordinator •
Shawn Wilder, Mailroom Clerk

maintenance services Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier,
Carpenter ■ Paul Giaimo, Electrician • Steven Harper, HVAC • Sandra Lemerise, Painter ■
Michael Maher, HVAC environmental services Landel Milton, Lead Custodian • Rudolph Lewis,
Assistant Lead Custodian • Desmond Boland • Julien Buckmire ■ Claudia Ramirez Calmo •
Angelo Flores • Gaho Boniface Wahi

tanglewood operations Robert Lahart, Tanglewood Facilities Manager

Ronald T. Brouker, Grounds Supervisor ■ Maurice Garofoli, Electrician • Peter Socha, Buildings
Supervisor • Robert Casey • Stephen Curley ■ Richard Drumm • Bruce Huber

HUMAN RESOURCES

Susan Olson, Human Resources Recruiter • Heather Mullin, Human Resources Manager •
Kathleen Sambuco, Benefits Manager

WEEK 1 ADMINISTRATION

1 1

11 UU1UI 1 II I II

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World-class music complemented by elegant pre-concert and post-performance dining.
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INFORMATION TECHNOLOGY

Timothy James, Director of Information Technology

PUBLIC RELATIONS

Kathleen Drohan, Associate Director of Public Relations • Samuel Brewer, Public Relations Assistant •
Taryn Lott, Public Relations Supervisor

PUBLICATIONS

Marc Mandel, Director of Program Publications

Robert Kirzinger, Assistant Director of Program Publications— Editorial • Eleanor Hayes McGourty,
Assistant Director of Program Publications— Production and Advertising

SALES, SUBSCRIPTION, AND MARKETING

Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales • Alyson Bristol,
Director of Corporate Sponsorships • Sid Guidicianne, Front of House Manager • James Jackson,
Call Center Manager ■ Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog,
Director of Marketing • Michael Miller, Director of Ticketing

Caitlin Bayer, Subscription Representative • Megan Bohrer, Group Sales Coordinator • Gretchen Borzi,
Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media •
Lenore Camassar, Associate Manager, SymphonyCharge • Theresa Condito, Access Services
Administrator/Subscriptions Associate • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle,
Junior Graphic Designer ■ Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House •
Erin Glennon, Senior Graphic Designer • Randie Harmon, Customer Service and Special Projects
Manager ■ Matthew P. Heck, Office and Social Media Manager • Michael King, Subscriptions Associate •
Michele Lubowsky, Associate Subscriptions Manager • Jason Lyon, Group Sales Manager •
Laura Maas, Merchandising Assistant • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil,
SymphonyCharge Representative • Michael Moore, E-Commerce Marketing Analyst • Allegra Murray,
Corporate Sponsorship Coordinator • Doreen Reis, Advertising and Events Manager • Andrew Russell,
Senior Manager, Corporate Sponsorships • Laura Schneider, Web Content Editor • Robert Sistare,
Subscriptions Representative • Kevin Toler, Art Director • Himanshu Vakil, Web Application Lead •
Stacy Whalen-Kelley, Manager, Corporate Sponsor Relations

box office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager
box office representatives Mary J. Broussard ■ Arthur Ryan

event services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue
Rentals and Events Administration ■ Cesar Vilalon De Lima, Events Administrative Assistant

TANGLEWOOD MUSIC CENTER

Andrew Leeson, Budget and Office Manager • Karen Leopardi, Associate Director for Faculty and
Guest Artists • Michael Nock, Associate Director for Student Affairs • Gary Wallen, Manager of
Production and Scheduling

WEEK 1 ADMINISTRATION ( 13

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&< BSO News

Boston Symphony Chamber Players
2010-2011 Season at Jordan Hall:
Four Sunday Afternoons at 3 p.m.

The Boston Symphony Chamber Players perform four Sunday-afternoon concerts each
season at Jordan Hall at the New England Conservatory, beginning this year on October 17
with a program including the world premiere of Andre Previn's Octet for Eleven, commis-
sioned by the BSO for the Boston Symphony Chamber Players, and featuring Mr. Previn as
pianist in Mozart's Piano Quartet in G minor, K.478. The season continues on January 23
with music of Lowell Lieberman, Mozart's Quintet in E-flat for piano and winds, K.452, and
Stravinsky's complete Soldier's Tale with actors and narrator; April 3, with music of Kurtag,
Brahms's Horn Trio, Op. 40, and Schubert's Trout Quintet; and May 1, with an all-French
program of music by Dutilleux, Tomasi, Ravel, Debussy, and Francaix. Subscriptions for the
four-concert series are available at $128, $92, and $72. Single tickets are $37, $28, and $21.
To purchase the four-concert series, please call the Subscription Office at (617) 266-7575.
Single tickets may be purchased through SymphonyCharge at (617) 266-1200, at the
Symphony Hall box office, or online at bso.org. On the day of the concert, tickets are avail-
able only at the Jordan Hall box office, 30 Gainsborough Street.

"BSO ioi: Are You Listening?"

A New Free Adult Education Series

Join BSO Director of Program Publications Marc Mandel at Symphony Hall for a series of
four informal sessions designed to enhance your listening ability while focusing on selected
music to be performed by the BSO. Each session— all on Wednesdays from 5:30-6:45 p.m.,
and free to anyone interested— will be followed by a reception offering beverages, hors
d'oeuvres, and further time to share your thoughts with all involved. After an initial, intro-
ductory session on classic works by Brahms, Mozart, and Haydn (October 27), the remaining
sessions will focus on "Schumann as Innovator," anticipating the BSO's complete Schumann
symphony cycle to be performed in late November/early December (November 10); illus-
trative music by Delius, Strauss, Scriabin, and Dvorak (January 12), and the contrasting
musical vocabularies of Liszt, Sibelius, Ravel, and Berlioz (March 30). A listing of the spe-
cific music to be discussed will be posted on bso.org three to four weeks in advance of
each session. No prior training is required, but please e-mail customerservice@bso.org to
reserve your place for the date or dates you are planning to attend.

Also New This Year:

Free Digital Music Seminars

Baffled by digital music? The BSO is offering free digital music seminars, free to ticket hold-
ers, prior to selected subscription concerts this season. Each seminar will last about 35

WEEK 1 BSO NEWS

minutes, starting immediately after the evening's Pre-Concert Talk and continuing until
about five minutes before the start of the concert. Topics will include an explanation of
digital music formats; how to purchase digital music, either as individual items or by sub-
scription; learning how to download and listen to music you have purchased; and informa-
tion about the BSO's own digital music service and other new media initiatives. The initial
seminars this season are scheduled for October 9, 21, 26, and 30, in the Miller Room on
October 9 and 30, and in the Rabb Room on October 21 and 26. An RSVP is required for
these sessions; to reserve your place for a given date, please e-mail customerservice@bso.org.

Pre-Concert Talks

The BSO offers half-hour Pre-Concert Talks in Symphony Hall prior to all BSO subscription
concerts and Open Rehearsals, except for the new "Underscore Fridays" series (1/14; 2/11;
3/25), which incorporates commentary by the conductors. Free to all ticket holders, Pre-
Concert Talks begin at 6:45 p.m. before evening concerts, at 12:15 p.m. before Friday-after-
noon concerts, at 9:30 a.m. before Thursday-morning Open Rehearsals, and at 6:30 p.m.
before Wednesday-night Open Rehearsals. Given by a variety of distinguished speakers
from Boston's musical community, these informative half-hour talks include recorded
examples from the music being performed. This week's talks on Mahler's Symphony No. 2
are being given by BSO Director of Program Publications Marc Mandel (October 8, 12)
and Assistant Director of Program Publications Robert Kirzinger (October 7, 9), who also
share the schedule for next week's talks on John Harbison's Symphony No. 3 and Mahler's
Symphony No. 5.

FOURTEENTH ANNUA

40 Outstanding Galleries from the U.S.
& Europe offering Traditional and
Contemporary Fine Art

The Cyclorama Boston Center for the Arts,
539 Tremont Street, in the South End

WEEKEND SHOW & SALE

Friday 1-9, Saturday 1 1-8, Sunday, 11-5
$1 5 at the door, under 1 2 free
Special Guest Speakers. Cafe at the show.
Valet and discount parking available.

Information: 617-363-0405
www.FineArtBoston.com

Produced by Fusco & Four/Ventures LLC

Dale Chihuly, Damascan Red Seaform Set

Courtesy of Schantz Galleries

GALA PREVIEW

Thursday, Nov. 18, 5:30-8:30pm

to benefit

Boston Symphony Orchestra

Enjoy a stunning catered event
and of course the first choice of
a dazzling array of fine art.
Benefit tickets $100 & $250.
Call 617-638-9393 or order
online at: www.bso.org/BIFAS

Upcoming "Symphony*" Events

"Symphony+" is a series of pre- and post-concert events that enhance the overall concert
experience by connecting food, literature, and the performing and visual arts to the BSO
concerts at Symphony Hall. All events at Symphony Hall are free of charge for ticket hold-
ers; off-site events require an additional charge. Patrons can enjoy a pre-concert dinner at
the Oak Room in The Fairmont Copley Plaza at 5:30 p.m. on Tuesday, October 12, prior to
the 8 p.m. BSO performance of Mahler's Symphony No. 2, Resurrection, under James Levine.
Tickets for the dinner and concert are $90 per person, available online at bso.org or by call-
ing SymphonyCharge at 1-888-266-1200. The season's first post-concert reception takes
place on Tuesday, October 26, in Higginson Hall. Please check bso.org for further details.

INDIVIDUAL TICKETS ARE ON SALE FOR ALL CONCERTS IN THE BSO S 2010-2011 SEASON.
FOR SPECIFIC INFORMATION ON PURCHASING TICKETS BY PHONE, ONLINE, BY MAIL, OR IN
PERSON AT THE SYMPHONY HALL BOX OFFICE, PLEASE SEE PAGE 83 OF THIS PROGRAM BOOK.

The Beranek Concert
Thursday, October 7, 2010

The BSO's performance this Thursday is en-
dowed by a generous gift from Life Trustee
Leo Beranek and Gabriella Beranek. Both of
the Beraneks have played significant roles in
the life of the Symphony.

Dr. Leo Beranek began his appointed service
to the BSO in 1968 as a Charter Member
of the Board of Overseers and chaired the
Board of Overseers from 1977 to 1980. Dr.
Beranek was appointed a BSO Trustee in
1977, was Chairman from 1983 to 1986, and
was made Honorary Chairman and Life
Trustee in 1987. During his tenure as Trustee,
Leo sought to increase dramatically the
BSO's endowment. In 1992, fellow donors and
Board members named the Beranek Room in
Leo's honor; Higginson Society members con-
tinue to gather regularly in this elegant and
comfortable space. His most recent book, an
autobiography entitled Riding the Waves: A
Life in Sound, Science, and Industry, was pub-
lished recently by The MIT Press.

Gabriella Beranek served as Trustee of the
Boston Symphony Orchestra from 1997 to
2007 and as Overseer from 1988 to 1997 In
the late 1980s, Gabriella was central to the
success of the "Salute to Youth" portion of
the BSO's Open House weekend, "Salute to
Symphony," which brought together the BSO,
Yo-Yo Ma, the Greater Boston Youth Sym-

phony Orchestra, and the New England
Conservatory Orchestra to perform before
5,000 children. The Friends' component of
the March 1998 BSO European tour benefited
from Gabriella's expert coordination of their
fourteen days of travel and activities. From
1997 to 2000, Gabriella served on the Sym-
phony Hall Centennial Committee; in 2000
she created the spectacular Symphony Hall
Centennial Ball.

The BSO Boards, musicians, and staff appre-
ciate their extraordinary contributions to the
enduring legacy of the BSO.

The Fanny Peabody Mason
Memorial Concert
Friday, October 8, 2010

The first Friday-afternoon concert of the
Boston Symphony Orchestra's subscription
season is dedicated to the memory of Miss
Fanny Peabody Mason, who was a Friday-
afternoon subscriber and an active patron of
music both in the United States and abroad
until her death in 1948. Many music lovers
recall the outstanding concerts Miss Mason
presented in the music room of her town-
house on Commonwealth Avenue and at her
summer residence in Walpole, New Hamp-
shire. The endowment to honor Miss Mason
perpetually was created in 1985 by the
Peabody-Mason Music Foundation, estab-
lished by Miss Mason, and which presented

WEEK 1 BSO NEWS

<£>r

young and well-established artists in concert
in Boston and Cambridge for more than 35
years. The president of the foundation at that
time, the late Paul Doguereau, initiated the
gift to the BSO as a way to recognize Miss
Mason's love of music, and to foster the high-
est aspirations of the art. Besides the concert
sponsorship, the gift created the Mason
Lounge for musicians and staff and the Mason
Green Room.

Expand Your Musical Horizons:
Become a Friend of the BSO

Did you know that for only $75 you can
become a Friend of the BSO and receive the
BSO's exclusive online newsletter, InTune?
InTune features articles that give the reader
an insider's view of life at the BSO, as well
as advance announcements about special
Friends activities such as invitation-only
working BSO rehearsals. Other benefits of
membership, depending on level of giving,
include opportunities to engage first-hand
with BSO musicians, advance ticket-ordering
opportunities, Symphony Shop discounts,
and much more. In addition, Friends enjoy
connecting with like-minded individuals who
share a commitment to the BSO and its musi-
cal mission. To learn more about these benefits
and get a sneak preview of upcoming Friends
events, please contact the Friends Office at

(617) 638-9276 or friendsofthebso@bso.org.
If you're already a Friend and you're not
receiving your issue of InTune, please let us
know at intune@bso.org.

Support the Businesses That

Support the BSO:

The Fairmont Copley Plaza Hotel

both "A Company Christmas at Pops" and
"Presidents at Pops." The hotel has been a
symbol of Boston's rich history and elegance
since its gala opening in 1912. From business
and leisure travel to meetings to social
events and weddings, The Fairmont Copley
Plaza strives to orchestrate an exceptional
experience and lasting memories for all of its
visitors. The Oak Room is the property's
regal, comfortably elegant restaurant serving
breakfast, lunch, and dinner. The Fairmont
Copley Plaza also features suites themed
around both the BSO and Pops, featuring
music, artwork, and memorabilia designed to
ensure a melodic stay. For more information,
or to book your next visit, go to fairmont.com/
copleyplaza.

BSO Business Partners:
Instrumental to the BSO

BSO Business Partners, corporate annual fund
donors, play a vital role in deepening the
community impact of the BSO. Business
Partners help the BSO reach the largest audi-
ence of any symphonic organization in the
world. From free concerts throughout Boston
and eastern Massachusetts to innovative
programs such as "Musicians in the Schools,"
in which BSO members teach in middle
schools to foster an interest in classical
music in young people, Business Partners
help the BSO extend its magnificent music-
making to millions of people each year. BSO
Business Partners are eligible for a variety of
exclusive benefits that promote corporate
recognition, such as named concerts and pro-
gram listings, special events that advance
business networking, and behind-the-scenes
tours and VIP ticketing assistance. Among
their clients, employees, and the greater
community, BSO Business Partners are
applauded for supporting the Boston Sym-
phony Orchestra. For more information about
becoming a BSO Business Partner, contact

Kerri Cleghorn, Associate Director, Business
Partners, at kcleghorn@bso.org or (617)
638-9277.

Symphony Hall Tours

The Boston Symphony Association of Volun-
teers offers tours of Symphony Hall through-
out the Symphony season. Experienced
volunteer guides discuss the history and
traditions of the BSO and its world-famous
home, Symphony Hall, as the group is escorted
through public and selected "behind-the-
scenes" areas of the building. Free walk-up
tours lasting approximately one hour take
place on the second Saturday of each month
at 2 p.m. (except November 13 and Decem-
ber 11) and every Wednesday at 4 p.m. (except
December 15, January 5, and February 16).
All tours begin in the Massachusetts Avenue
lobby of Symphony Hall, where the guide
meets participants for entrance to the build-
ing. In addition, group tours— free for New
England school and community groups, or at
a minimal charge for tours arranged through
commercial tour operators— can be arranged
in advance (the BSO's schedule permitting).
All tour reservations may be made by visiting
us online at bso.org, or contacting the BSAV
Office at (617) 638-9390 or by e-mailing
bsav@bso.org.

Comings and Goings...

Please note that latecomers will be seated
by the patron service staff during the first
convenient pause in the program. In addition,
please also note that patrons who leave the
hall during the performance will not be
allowed to reenter until the next convenient
pause in the program, so as not to disturb the
performers or other audience members while
the concert is in progress. We thank you for
your cooperation in this matter.

WEEK 1 BSO NEWS

Arrive On A High Note

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To ihe memory of Serge and Natalie Kou&evitztiy

1 PRAYERS of KIERKEGAARD

Text from S^ren KierKegaard

Mak Chorus

Samuel Barber, op so

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main o* res+ in thee un.» chang- ing. Thou o--+ moved ond moved m m-fi-ntfe love by*l thmat I the

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ON DISPLAY IN SYMPHONY HALL

HIGHLIGHTS OF THIS YEAR'S EXHIBIT INCLUDE, ON THE ORCHESTRA LEVEL OF
SYMPHONY HALL:

• a display case devoted to former BSO flutist James Pappoutsakis (orchestra member,
1937-1978) highlighting his background, career, and legacy, and displaying for the first
time memorabilia donated to the BSO Archives by Mrs. Pappoutsakis in 1995; and

• a display case devoted to the bassoonists of the Boston Symphony Orchestra.

EXHIBITS ON THE FIRST-BALCONY LEVEL OF SYMPHONY HALL INCLUDE:

• a 75th-birthday tribute to Seiji Ozawa, the BSO's music director from 1973 to 2002
(outside the Cabot-Cahners Room, first-balcony right);

• a look at architectural and decorative details of Symphony Hall (first-balcony left).

TOP OF PAGE, LEFT TO RIGHT:

Erich Leinsdorf and Joseph Silverstein during the 1962-1963 season, Silverstein's first as BSO concertmaster
and Leinsdorf 's first as music director (photograph by Boris and Milton)

Detail from the score of Samuel Barber's "Prayers of Kierkegaard" used by Charles Munch for the December
1954 world premiere at Symphony Hall, with Munch's markings (BSO Archives)

Charles Munch disembarking from an Air France flight, c.1956 (BSO Archives)

WEEK 1 ON DISPLAY

James Levine

^-^"^ Now in his seventh season as music director of the Boston Symphony Orchestra, James
Levine is the BSO's 14th music director since the orchestra's founding in 1881 and the
first American-born conductor to hold that position. Highlights of his 2010-11 BSO season
at Symphony Hall include an Opening Night all-Wagner program with bass-baritone Bryn
Terfel; Mahler's Second (Resurrection), Fifth, and Ninth symphonies, continuing a Mahler
symphony cycle marking the 150th anniversary of the composer's birth and the 100th
of his death; John Harbison's First, Second, and Third symphonies, initiating a Harbison
symphony cycle to be completed in 2011-12 with the world premiere of Harbison's BSO-
commissioned Sixth Symphony; a program pairing Stravinsky's oratorio Oedipus Rex with
Bartok's opera Bluebeard's Castle; Schumann's Second and Third symphonies, marking •
the 200th anniversary of the composer's birth; and concerto collaborations with violinist
Christian Tetzlaff (including the world premiere of Harrison Birtwistle's BSO-commissioned
Violin Concerto) and pianist Maurizio Pollini. He will also conduct three concerts with
the orchestra at Carnegie Hall, as well as performances at the New Jersey Performing
Arts Center and the Kennedy Center in Washington, D.C.

James Levine made his BSO debut in April 1972 and became music director in the fall of
2004, having been named music director designate in October 2001. His wide-ranging
programs balance orchestral, operatic, and choral classics with significant music of the
20th and 21st centuries, including newly commissioned works from such leading American
composers as Milton Babbitt, Elliott Carter, John Harbison, Leon Kirchner, Peter Lieberson,
Gunther Schuller, and Charles Wuorinen. Mr. Levine and the Boston Symphony Orchestra
made their first European tour together following the 2007 Tanglewood season, perform-
ing in the Lucerne Festival, the Schleswig-Holstein Festival (in Hamburg), Essen, Dusseldorf,
the Berlin Festival, Paris, and the BBC Proms in London. At Tanglewood in 2008 he was
Festival Director for the Elliott Carter Centenary Celebration marking the composer's
lOOth-birthday year. Mr. Levine and the orchestra recently released a two-disc set of
Mozart symphonies (Nos. 14, 18, 20, 39, and 41, Jupiter) on the orchestra's own label,

FIDELIO

OPERA BOSTON

SEASON 2010/11

Starring Christine Goerke
as Leonore

Conducted by Gil Rose
Directed by
Thaddeus Strassberger

Cutler Majestic Theatre

Tickets through AEStages.org
or by calling 61 7-824-8000
(12-6pmMon.-Sat.)

www.operaboston.org
October 22, 24 & 26

WEEK 1 JAMES LEVINE

g=^ '"• i

Boston Symphony Orchestra

2010-2011

JAMES LEVINE

Music Director
Ray and Maria Stata Music
Directorship, fully funded
in perpetuity

BERNARD HAITINK

Conductor Emeritus
LaCroix Family Fund,
fully funded in perpetuity

SEIJI OZAWA

Music Director Laureate

FIRST VIOLINS

Malcolm Lowe

Concertmaster
Charles Munch chair,
fully funded in perpetuity

Tamara Smirnova
Associate Concertmaster
Helen Horner Mclntyre chair,
endowed in perpetuity in 1976

Alexander Velinzon

Assistant Concertmaster
Robert L. Beal, Enid L, and
Bruce A. Beal chair, endowed
in perpetuity in 1980

Elita Kang

Assistant Concertmaster
Edward and Bertha C. Rose chair

Bo Youp Hwang

John and Dorothy Wilson chair,
fully funded in perpetuity

Lucia Lin

Dorothy Q. and David B. Arnold, Jr.,
chair, fully funded in perpetuity

Ikuko Mizuno5

Muriel C Kasdon and Marjorie C.

Paley chair

Nancy Bracken*

Ruth and Carl J. Shapiro chair,
fully funded in perpetuity

Aza Raykhtsaum*

Theodore W. and Evelyn
Berenson Family chair

Bonnie Bewick*

Stephanie Morris Marryott and
Franklin J. Marryott chair

James Cooke*

Catherine and Paul Buttenwieser
chair

Victor Romanul*
Bessie Pappas chair

Catherine French*

Mary B. Saltonstall chair, fully
funded in perpetuity

Jason Horowitz*

Kristin and Roger Servison chair

Julianne Lee*

Donald C and Ruth Brooks Heath
chair, fully funded in perpetuity

SECOND VIOLINS

Haldan Martinson

Principal

Carl Schoenhof Family chair,

fully funded in perpetuity

Vyacheslav Uritsky

Assistant Principal

Charlotte and Irving W. Rabb chair,

endowed in perpetuity in 1977

Sheila Fiekowsky

Shirley and J. Richard Fennell
chair, fully funded in perpetuity

Ronald Knudsen

David H. and Edith C. Howie
chair, fully funded in perpetuity

Ronan Lefkowitz

Jennie Shames*

Valeria Vilker Kuchment*

Tatiana Dimitriades*

Si-Jing Huang*

Nicole Monahan*

Wendy Putnam*

Robert Bradford Newman chair,
fully funded in perpetuity

Xin Ding*

Glen Cherry*

Yuncong Zhang*

VIOLAS

Steven Ansell

Principal

Charles S. Dana chair, endowed

in perpetuity in 1970

Cathy Basrak

Assistant Principal
Anne Stoneman chair, fully
funded in perpetuity

Edward Gazouleas

Lois and Harlan Anderson chair,
fully funded in perpetuity

Robert Barnes

Michael Zaretsky

Marc Jeanneret

Mark Ludwig*

Rachel Fagerburg*

Kazuko Matsusaka * §

Rebecca Gitter*

CELLOS

Jules Eskin

Principal

Philip R. Allen chair, endowed in

perpetuity in 1969

Martha Babcock

Assistant Principal

Vernon and Marion Alden chair,

endowed in perpetuity in 1977

Sato Knudsen

Mischa Nieland chair, fully
funded in perpetuity

Mihail Jojatu

Sandra and David Bakalar chair

Jonathan Miller*

Charles and JoAnne Dickinson
chair

Owen Young*

John F Cogan, Jr., and Mary L.
Cornille chair, fully funded in
perpetuity

Andrew Pearce*

Stephen and Dorothy Weber
chair, fully funded in perpetuity

Mickey Katz*

Richard C. and Ellen E. Paine
chair, fully funded in perpetuity

Alexandre Lecarme*

Adam Esbensen*

Blaise Dejardin*

BASSES

Edwin Barker

Principal

Harold D. Hodgkinson chair,

endowed in perpetuity in 1974

Lawrence Wolfe

Assistant Principal

Maria Nistazos Stata chair, fully

funded in perpetuity

Benjamin Levy

Leith Family chair, fully funded
in perpetuity

Dennis Roy

Joseph and Jan Brett Hearne
chair

Joseph Hearne

James Orleans*

Todd Seeber*

Eleanor L. and Levin H. Campbell
chair, fully funded in perpetuity

JohnStovall*

FLUTES

Elizabeth Rowe
Principal

Walter Piston chair, endowed
in perpetuity in 1970

(position vacant)

Myra and Robert Kraft chair,
endowed in perpetuity in 1981

Elizabeth Ostling
Associate Principal
Marian Gray Lewis chair, fully
funded in perpetuity

photos by Michael J. Lutch

PICCOLO

Cynthia Meyers

Evelyn and C. Charles Marran
chair, endowed in perpetuity in
7979

OBOES

John Ferrillo

Principal

Mildred B. Remis chair, endowed

in perpetuity in 7975

Mark McEwen

James and Tina Collias chair

Keisuke Wakao

Assistant Principal

Farla and Harvey Chet Krentzman

chair, fully funded in perpetuity

ENGLISH HORN

Robert Sheena

Beranek chair, fully funded in
perpetuity

CLARINETS

William R. Hudgins

Principal

Ann S.M. Banks chair, endowed

in perpetuity in 7977

Michael Wayne

Thomas Martin

Associate Principal &

E-flat clarinet

Stanton W. and Elisabeth K.

Davis chair, fully funded in

perpetuity

BASS CLARINET

Craig Nordstrom

BASSOONS

Richard Svoboda

Principal

Edward A. Taft chair, endowed in

perpetuity in 1974

Suzanne Nelsen

John D. and Vera M. MacDonald
chair

Richard Ranti

Associate Principal
Diana Osgood Tottenham/
Hamilton Osgood chair, fully
funded in perpetuity

CONTRABASSOON

Gregg Henegar

Helen Rand Thayer chair

HORNS

James Sommerville

Principal

Helen Sagoff Slosberg/Edna S.
Kalman chair, endowed in
perpetuity in 7974

Richard Sebring

Associate Principal
Margaret Andersen Congleton
chair, fully funded in perpetuity

(position vacant)

Elizabeth B. Storer chair, fully
funded in perpetuity

(position vacant)

John P. II and Nancy S. Eustis
chair, fully funded in perpetuity

Jason Snider

Gordon and Mary Ford Kingsley
Family chair

Jonathan Menkis

Jean-Noel and Mono N. Tariot
chair

TRUMPETS

Thomas Rolfs

Principal

Roger Louis Voisin chair, endowed

in perpetuity in 1977

Benjamin Wright

Arthur and Linda Gelb chair

Thomas Siders

Assistant Principal
Kathryn H. and Edward M.
Lupean chair

(position vacant)

Ford H. Cooper chair, endowed
in perpetuity in 1984

TROMBONES

Toby Oft

Principal

J. P. and Mary B. Barger chair,

fully funded in perpetuity

Stephen Lange

BASS TROMBONE

Douglas Yeo

John Moors Cabot chair, fully
funded in perpetuity

TUBA

Mike Roylance

Principal

Margaret and William C.

Rousseau chair, fully funded in

perpetuity

TIMPANI

Timothy Genis

Sylvia Shippen Wells chair,
endowed in perpetuity in 1974

PERCUSSION

Frank Epstein

Peter and Anne Brooke chair,
fully funded in perpetuity

J. William Hudgins

Peter Andrew Lurie chair, fully
funded in perpetuity

W. Lee Vinson

Barbara Lee chair

Daniel Bauch

Assistant Timpanist

Mr. and Mrs. Edward H. Linde

chair

HARP

Jessica Zhou

Nicholas and Thalia Zervas chair,
fully funded in perpetuity by
Sophia and Bernard Gordon

VOICE AND CHORUS

John Oliver

Tanglewood Festival Chorus

Conductor

Alan J. and Suzanne W. Dworsky

chair, fully funded in perpetuity

LIBRARIANS

Marshall Burlingame

Principal

Lia and William Poorvu chair,

fully funded in perpetuity

William Shisler

John Perkel

ASSISTANT
CONDUCTORS

Marcelo Lehninger

Anna E. Finnerty chair, fully
funded in perpetuity

Sean Newhouse

PERSONNEL
MANAGERS

Lynn G. Larsen

Bruce M. Creditor
Timothy Tsukamoto
Assistant Personnel Managers

STAGE MANAGER

John Demick

* participating in a system
of rotated seating

§ on sabbatical leave

WEEK 1 BOSTON SYMPHONY ORCHESTRA

THIS MONTH

Sunday Concert Series • Sundays at 1:30PM

OCTOBER IO

Jennifer Aylmer, soprano
Randall Scarlata, baritone
Laura Ward, piano

Tin Pan Alley at the Gardner

OCTOBER 17
Paavali Jumppanen, piano

The Complete Mozart Piano Sonatas, Parti

OCTOBER 24
Musicians from Marlboro

Respighi, Mozart, Dvorak, Cuckson

OCTOBER 31

Charlie Albright, piano

Young Artists Showcase— First Prize Winner,
2009 Young Concert Artists International Auditions
Schumann, Jandcek, Menotti

• Concerts every Sunday at 1:30pm
Cafe open 11am-4pm
• Tickets online, by phone, or at the door
Full schedule and FREE podcast at gardnermuseurn.org

isabelia
stwart Gardner

MUSEUM

280 THE FENWAY BOX OFFICE 617 278 5156
WWW.GARDNERMUSEUM.ORG

A Brief History of the
Boston Symphony Orchestra

Henry Lee Higginson dreamed of founding a great and permanent orchestra in his
home town of Boston for many years before that vision approached reality in the spring

Major Henry Lee Higginson, founder of the Boston Symphony Orchestra

WEEK 1 A BRIEF HISTORY OF THE BOSTON SYMPHONY ORCHESTRA

The first photo-
graph, actually
a collage, of
the Boston
Symphony
Orchestra under
Georg Henschel,
taken 1882

Rush ticket line
at Symphony Hall,
probably in the 1930s

Charles Munch followed Koussevitzky as music director of the Boston Symphony Orches-
tra in 1949. Munch continued Koussevitzky's practice of supporting contemporary com-
posers and introduced much music from the French repertory to this country. During his
tenure the orchestra toured abroad for the first time and its continuing series of Youth
Concerts was initiated under the leadership of Harry Ellis Dickson. Erich Leinsdorf began
his seven-year term as music director in 1962. Leinsdorf presented numerous premieres,
restored many forgotten and neglected works to the repertory, and, like his two prede-
cessors, made many recordings for RCA; in addition, many concerts were televised under
his direction. Leinsdorf was also an energetic director of the Tanglewood Music Center-
under his leadership a full-tuition fellowship program was established. Also during these
years, in 1964, the Boston Symphony Chamber Players were founded. William Steinberg
succeeded Leinsdorf in 1969. He conducted a number of American and world premieres,
made recordings for Deutsche Grammophon and RCA, appeared regularly on television,
led the 1971 European tour, and directed concerts on the east coast, in the south, and in
the midwest.

Seiji Ozawa became the BSO's thirteenth music director in the fall of 1973, following a

WEEK 1 A BRIEF HISTORY OF THE BOSTON SYMPHONY ORCHESTRA

FRI, OCT 29 SUN, OCT 31

8PM 3PM

Bernard Labadie, conductor
Robert Levin, fortepiano

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WEEK 1 A BRIEF HISTORY OF THE BOSTON SYMPHONY ORCHESTRA

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JAMES LEVINE, MUSIC DIRECTOR
BERNARD HAITINK, CONDUCTOR EMERITUS
SEIJI OZAWA, MUSIC DIRECTOR LAUREATE

Boston Symphony Orchestra

130th season, 2010-2011

Thursday, October 7, 8pm
Friday, October 8, 1:30pm

Saturday, October 9, 8pm
Tuesday, October 12, 8pm

THE BERANEK CONCERT

THE FANNY PEABODY MASON
MEMORIAL CONCERT

JAMES LEVINE conducting

MAHLER SYMPHONY NO. 2 IN C MINOR

Allegro maestoso. With complete gravity and
solemnity of expression.

Andante moderato. Very easygoing. Not to be
hurried at any point.
In quietly flowing motion.
Urlicht (Primal light). Very solemn, but simple,
like a hymn.

In the tempo of the scherzo— Bursting out
wildly— Slow— Allegro energico— Slow-
Very slow and expansive— Slow. Misterioso

LAYLA CLAIRE, SOPRANO

KAREN CARGILL, MEZZO-SOPRANO

TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, CONDUCTOR

Text and translation begin on page 54.

Please note that there is no intermission in this concert.

THESE PERFORMANCES CONTINUE THE CELEBRATION OF THE 4OTH ANNIVERSARY
OF THE TANGLEWOOD FESTIVAL CHORUS.

THESE PERFORMANCES BY THE TANGLEWOOD FESTIVAL CHORUS ARE SUPPORTED
BY THE ALAN J. AND SUZANNE W. DWORSKY FUND FOR VOICE AND CHORUS.

^J<f3 UBS IS PROUD TO SPONSOR THE BSO'S 2010-2011 SEASON.

The evening concerts will end about 9:40 and the afternoon concert about 3:10.

Steinway and Sons Pianos, selected exclusively for Symphony Hall.

Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and
Commonwealth Worldwide Chauffeured Transportation.

The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters,
the late Mrs. A. Werk Cook and the late Mrs. William C. Cox.

In consideration of the performers and those around you, please turn off cellular phones, texting devices,
pagers, watch alarms, and all other electronic devices during the concert.

Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers
and to other audience members.

WEEK 1 PROGRAM

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From the Music Director

I can't tell you how excited I am to be back at Symphony Hall with the BSO, and
with you, for the opening weeks of this new season. And for my first two sub-
scription programs this year, I'm also particularly happy that we're playing music
by two of the most important symphonists I can think of.

Needless to say, I have a great many favorite composers in general (without even
restricting the list to favorite symphonists). But as we continue our Mahler sym-
phony cycle marking the 150th anniversary of his birth and 100th anniversary of
his death, and initiate— with John Harbison's symphonies 1, 2, and 3— a Harbison
symphony cycle to be concluded next season with the world premiere of his new
Sixth Symphony (commissioned by the BSO), the possibilities for thinking about
these works seem endless. Here are two great composers, working a century
apart, each creating symphonies that are fascinating to hear not only in terms of
how each makes the symphony his own (e.g., in terms of content and structure),
but also with regard to their particular place in the overall development of the genre.

Mahler himself once said, in conversation with Sibelius, that his symphonies needed
to encompass the entire universe. One recognizes this from the programs— often
so nature-oriented, as can be heard in the music— Mahler frequently devised for
his symphonies; in the way the forces called for (orchestra, soloists, chorus)
change over time; in the varying number of movements, and even in the amount
of time it takes to play them. (The First Symphony is already about an hour long,
and except for the Fourth, the others take 80 minutes or longer.)

Harbison, in his own brief introduction to his symphonies (to be printed in next
week's program book), cites both Mahler and Sibelius as crucial figures in the
development of the symphony in the twentieth century. He also makes a point of

WEEK 1 FROM THE MUSIC DIRECTOR 35

mentioning Schoenberg and Stravinsky as two significant 20th-century composers
whose music he had to absorb while finding his own voice. John's music has
always reflected so many longstanding affinities of his own, both musical (e.g.,
Bach, Schutz, and jazz) and literary (e.g., in the choice of subjects for his three
operas, Winter's Tale, Full Moon in March, and The Great Gatsby, and in the texts
chosen for his numerous other vocal works). And there's of course also his per-
sonal connection to the Boston Symphony, which he has been hearing for so many
years, and which has commissioned and introduced a variety of his works, among
them his First Symphony (a BSO centennial commission premiered and recorded
here by Seiji Ozawa in 1984) and his Fifth Symphony (a BSO 125th anniversary
commission I premiered here with the orchestra in 2008).

The performances this month of Mahler's Resurrection and Fifth symphonies are
my first with the BSO. Over the years, I've performed the Resurrection many times
with numerous orchestras. Its musical character and affirmative message— con-
veying a sense of celebration and renewal so appropriate to a significant occasion
like the start of a new season— have always been particularly meaningful to me.
The Fifth Symphony— for orchestra alone, with no soloists or chorus— stands in
major contrast to the Second while being no less inventive on every possible level,
and no less uplifting in its progression from dark to light. (It also has that famous
Adagietto, which has taken on a life of its own!)

Though Mahler's Fifth is long enough to fill an entire program, it seemed right on
this occasion to pair it with one of the Harbison symphonies, initiating the Harbi-
son cycle in tandem with our continuing Mahler cycle. John's Symphony No. 3,
which I conducted here in 2003, seemed the right way to start (the orchestra has
never played John's Second or Fourth symphonies): it's an eminently graspable
work— relatively brief (under twenty-five minutes), in five connected movements,
and consistently inventive and engaging in its orchestration, textures, moods,
and musical connections— and also one that some members of our audience will
already have heard. John's First and Second symphonies will follow in late Novem-
ber and early December, when each is programmed with a Robert Schumann
symphony being played as part of a Schumann symphony cycle marking the 200th
anniversary of that composer's birth!

It's amazing to consider that even all these years after the term was first used,
we are still immersed in studying, rehearsing, performing, and listening to sym-
phonies—and not only symphonies from earlier times, but a seemingly endless
stream of new ones, despite how much the idea of the symphony has changed.
From the time of Mozart, Beethoven, Schumann, and their immediate successors,
to the longer works of Bruckner and Mahler (whose every piece suited an entirely
new conception), the whole symphonic landscape has been utterly transformed.
In the twentieth century, this transformation continued to take place in the hands
of such composers as, for example, Schoenberg, Stravinsky (with Le Sacre du print-
emps), Prokofiev, and Bartok (whose Music for Strings, Percussion, and Celesta
is symphonic in all but name), as well as American composers like Ives, Piston,
Sessions, William Schuman, and, for us this season and next, John Harbison,
whose five symphonies (soon to be joined by a Sixth) represent not just an indi-
vidual voice, but five different points of view.

1>Z-

WEEK 1 FROM THE MUSIC DIRECTOR 37

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HOTELS & RESORTS

Mahler's No. 4 or Mozart's No. 40?

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its cent r. The Fairmont Copley Plaza is honored to be the Official Hotel of two of
the world greatest orchestras, the Boston Symphony and the Boston Pops.

For reservations or more information, call 1 800 441 1414 or visit www.fairmont.com

Gustav Mahler

Symphony No. 2\nC minor

GUSTAV MAHLER was born at Kalischt (Kaliste) near the Moravian border of Bohemia on July 7,
i860, and died in Vienna on May 18, 19 11. Mahler originally wrote the first movement of his
Symphony No. 2 in 1888 as a "symphonic poem" entitled "Todtenfeier" ("Funeral Rites"); some
sketches for the second movement also date from that year. He long wavered about whether to
make "Todtenfeier" the beginning of a symphony, and it was not until the summer of 1893 that
he composed the second and third movements. The finale and a revision of the first movement
followed in the spring and summer of 1894. Later that year, he inserted as the fourth movement
the song "Urlicht" ("Primal Light"), probably composed in 1892 and orchestrated in 1893. The
fair copy of the complete score of the symphony is dated December 28, 1894. It was Mahler
himself — not Richard Strauss, as was long believed — who conducted the Berlin Philharmonic in
the premiere of the first three movements on March 4, 1895. It was also he who led the first per-
formance of the entire work, on December 13 that same year; the orchestra was again the Berlin
Philharmonic, the soloists were Josephine von Artner and Hedwig Felden, and the choirs were
prepared by Friedrich Gernsheim. Mahler revised the scoring again in 1903 and was still tinkering
with the score as late as 1909. Mahler also conducted the first American performance of the work,
in a concert of the New York Symphony on December 8, 1908, with the Oratorio Society and
soloists Laura L. Combs and Gertrude Stein Bailey.

THE SCORE OF MAHLER'S SYMPHONY NO. 2 calls for four flutes (all doubling piccolos), two
oboes (third and fourth doubling English horns), three clarinets (third doubling bass clarinet) and
two E-flat clarinets, four bassoons (third and fourth doubling contrabassoon), ten horns, eight
trumpets, four trombones, bass tuba, organ, two harps, two sets of timpani, bass drum, cymbals,
high and low tam-tams, triangle, two snare drums, glockenspiel, three deep bells of unspecified
pitch, birch brush (played against the body of the bass drum), and strings, plus soprano and alto
soloists, and large mixed choir. Four each of the horns and trumpets play offstage in the finale/
most of these then moving onstage. There is also an offstage group consisting of another kettle-
drum, triangle, bass drum, and pair of cymbals.

WEEK 1 PROGRAM NOTES

Lofton Farly Music Teslival 2010-201 1 season

Stile Antico

In Paradisum:

Swansongs and Memorials by the

Renaissance Masters

Friday, October 15, 8pm
St. Paul Church, Cambridge

Henry Purcell's

Dido and Aeneas

BEMFs

Annual

Chamber Opera

Sat., Nov. 27
8pm

Sun., Nov. 28
3pm

NEC's
Jordan Hall

Coming in 2011!

1 Symphonie des Dragons

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In August 1886, eight years out of school and with conducting experience at Bad Hall,
Laibach (Ljubljana), Iglau (Jihlava), Olmutz (Olomouc), Kassel, and Prague, the twenty-
six-year-old Mahler was appointed second conductor at the theater in Leipzig. (His
superior was a future Boston Symphony conductor, Arthur Nikisch.) He soon made the
acquaintance of a captain in the Saxon army, Baron Carl von Weber, grandson of the
composer of Der Freischutz, Euryanthe, and Oberon, music close to Mahler's heart. The
encounter had interesting consequences. First, Captain von Weber invited Mahler to
examine his grandfather's sketches for an opera called Die drei Pintos, begun and aban-
doned in 1820 near the end of his work on Freischutz. He hoped to interest Mahler in
extracting a performing version from those sketches, a project considered but then
dropped earlier in the century by Giacomo Meyerbeer and Franz Lachner. Then, Mahler
and von Weber's wife Marion fell in love, and some of their affair is, as it were, composed
into the First Symphony on which Mahler worked with great concentration in February
and March 1888.

He did, in any event, take on Die drei Pintos, conducting its highly acclaimed premiere on
January 20, 1888. Bouquets and wreaths galore were presented to Mahler and the cast.
Mahler took home as many of these floral tributes as he could manage, and lying in his
room amid their seductive scent, he imagined himself dead on his bier. Marion von
Weber pulled him out of his state and removed the flowers, but the experience had been
sufficient to sharpen greatly Mahler's vision of a compositional project he had had in
mind for some months and on which he began work a few weeks later. This was a large
orchestral piece called Todtenfeier or Funeral Rites. Mahler's biographer Henry-Louis de La
Grange points out that Todtenfeier was the title of the recently published German transla-
tion by Mahler's friend Siegfried Lipiner of Dziady, the visionary and epic masterpiece of
Poland's greatest poet, Adam Mickiewicz. De La Grange suggests as well that certain
aspects of Dziady and of Mickiewicz's life were apposite to Mahler's own situation, par-
ticularly with respect to Marion von Weber, and that the music might be construed as a
requiem for their relationship.

We know, at any rate, that the following things happened: Mahler began the composition
of Todtenfeier in February 1888, but preferred to use the enforced and welcome holiday
brought about by the closing of theaters in mourning for Emperor Wilhelm I to work on
the Symphony No. I. In May he resigned his Leipzig post, in part because of the increasing-
ly tense situation with the Webers, and became music director of the opera in Budapest.
He returned to his Todtenfeier score in the late spring and summer, finishing the composi-
tion in August and completing the orchestral score in Prague on September 10. Five years
later— Mahler had meanwhile become principal conductor in Hamburg— he realized that
Todtenfeier was not an independent piece, but rather the first movement of a new sympho-
ny. In 1893-94 the rest fell into place as quickly as his conducting obligations permitted.

The Second Symphony is often called the Resurrection, but Mahler himself gave it no title.
On various occasions, though, and beginning in December 1895, Mahler offered programs

Program note continues on page 45.

WEEK 1 PROGRAM NOTES 41

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The conductor Hans von Biilow 0830-1894),
whose death profoundly influenced the
completion of Mahler's Second Symphony

to explain the work. As always, he blew hot and cold on this question. Writing to his wife,
he referred to the program he had provided at the request of King Albert of Saxony in
connection with a December 1901 Dresden performance as "a crutch for a cripple." He
goes on: "It gives only a superficial indication, all that any program can do for a musical
work, let alone this one, which is so much all of a piece that it can no more be explained
than the world itself. I'm quite sure that if God were asked to draw up a program of the
world he created he could never do it. At best it would say as little about the nature of
God and life as my analysis says about my C minor Symphony."

Not only was Mahler skeptical about the programs he could not resist devising— all after
the event— but he changed his mind repeatedly as to just what the program was. (De La
Grange recounts three different versions, one written in January 1896 for Mahler's friend
Natalie Bauer-Lechner and the conductor Bruno Walter, another two months later for the
critic Max Marschalk, and the Munich-Dresden version of 1900-1901.) Across their dif-
ferences, the programs share certain features. The first movement celebrates a dead
hero. It retains, in other words, its original Todtenfeier aspect, and since the First and
Second symphonies were, in a sense, of simultaneous genesis, it is worth citing Mahler's
comments that it is the hero of the First Symphony who is borne to his grave in the
funeral music of the Second (to Marschalk, March 26, 1896) and that "the real, the cli-
mactic denouement [of the First] comes only in the Second" (transmitted to Ludwig
Karpath, critic of the Neues Wiener Tagblatt, by Bauer-Lechner in November 1900). The
second and third movements represent retrospect, the former being innocent and nostalgic,
the latter including a certain element of the grotesque. The fourth and fifth movements
are the resolution and they deal with the Last Judgment, redemption, and resurrection.

All this has bearing on Mahler's perception of the structure of his Second Symphony, a
matter on which he made various comments that are not so much contradictory as they
are complementary. Referring to the frustrating— because partial— premiere in Berlin in

WEEK 1 PROGRAM NOTES

March 1895, he said that the first three movements were in effect "only the exposition"
of the symphony. He wrote elsewhere that the appearance of the Urlicht song sheds light
on what comes before. Writing to the critic Arthur Seidl in 1897, he refers to the three
middle movements as having the function only of an "interludium." There is, as well, the
question of breaks between movements. The score is quite explicit here, specifying a
pause "of at least five minutes" after the first movement and emphatically demanding in
German and Italian that the last three movements follow one another without any inter-
ruption. Yet in March 1903, Mahler wrote to Julius Buths, who was getting ready to con-
duct the work at Dusseldorf, a letter worth quoting at some length:

According [to your suggestion] then, the principal break in the concert would come
between the fourth and fifth movements. I am amazed at the sensitivity with which
you (contrary to my own indications) have recognized the natural caesura in the work.
I have long been of this opinion, and furthermore, each performance I have conducted
has strengthened this view.

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Nonetheless, there ought also to be an ample pause for gathering one's thoughts after
the first movement because the second movement has the effect after the first, not
of contrast, but as a mere irrelevance. This is my fault and not to be blamed on insuffi-
cient comprehension on the part of listeners. Perhaps you have already sensed this
in rehearsing the two movements one after the other. The Andante is composed as a
kind of intermezzo (like some lingering resonance of long past days from the life of
him whom we bore to his grave in the first movement— something from the days when
the sun still smiled upon him).

While the first, third, fourth, and fifth movements belong together thematically and in
mood, the second piece stands by itself, in a certain sense interrupting the grim and
severe march of events. Perhaps this is a weakness in planning, the intention behind
which is, however, surely clarified for you by the foregoing suggestion.

It is altogether logical to interpret the beginning of the fifth movement as a connecting
link to the first, and the big break before the former helps to make this clear to the lis-
tener.

This is illuminating and written with great conviction; yet one should probably assume
that Mahler's final thoughts on the question are to be found in his 1909 revisions, pub-
lished 1910, where he sticks with his original directions for an attacca between the third
and fourth, and the fourth and fifth movements.

WEEK 1 PROGRAM NOTES

SYMPHONY HALL

TUESDAY EVENING, JANUARY 22, 1918

SECOND CHORAL CONCERT
GUSTAV MAHLER'S

SYMPHONY IN C MINOR, NO. 2

FIRST PERFORMANCE IN BOSTON

CHORUS OF THREE HUNDRED AND

FIFTY

(TRAINED BY STEPHEN TOWNSEND)

BOSTON SYMPHONY ORCHESTRA

MAY PETERSON, Soprano
MERLE ALCOCK, Contralto

Dr. KARL MUCK, Conductor

The program page from the first Boston Symphony performance of Mahler's Symphony No. 2,
a non-subscription concert on January 22, 1918, played "for the Benefit of Edith Wharton's
War Charities" (as stated elsewhere in that program)

The Church of St. Michael in Hamburg,
where the memorial service for Hans
von Bulow that inspired Mahler's use
of the "Resurrection" hymn was held

The first and last movements are the symphony's biggest, though the finale is much the
longer of the two. In other ways, they are as different as possible, partly no doubt because
of the six years that separate them, still more crucially because of their different struc-
tural and expressive functions. The Todtenfeier is firmly anchored to the classical sonata
tradition (late Romantic branch). Its character is that of a march, and Mahler's choice of
key— C minor— surely alludes to the classic exemplar for such a piece, the marcia funebre
in Beethoven's Eroica. The lyric, contrasting theme, beautifully scored for horns, is an
homage to Beethoven's Violin Concerto.

Disjunctions of tempo are very much a feature of Mahler's style. At the very beginning,
against scrubbing violins and violas, low strings hurl turns, scales, and broken chords.
Their instruction is to play not merely fff but "ferociously." Here, for example, Mahler
prescribes two distinct speeds for the string figures and the rests that separate them, the
former "in violent onslaught" at about J =144, the latter in the movement's main tempo
of about J = 84-92. Later, the climax of the development is fixed not only by maximal dis-
sonance, but, still more strikingly, by a series of three caesuras, each followed by an "out
of tempo" forward rush.

The thematic material of the second movement, both the gentle dance with which it
begins and the cello tune that soon joins in, goes back to Leipzig and the time of the
Todtenfeier. Like the minuet from the Third Symphony, this movement was occasionally
played by itself, and Mahler used to refer to these bucolic genre pieces as the raisins in
his cakes. Three musicians who resisted its charms were Claude Debussy, Paul Dukas,
and Gabriel Pierne, who all walked out during its performance in Paris in 1910: reac-
tionary and too much like Schubert, they said.

The third movement is a symphonic expansion of a song about Saint Anthony of
Padua's sermon to the fishes, the text comes from the collection of German folk verse,

WEEK 1 PROGRAM NOTES

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Des Knaben Wunderhom (The Boy's Magic Horn). Mahler worked on the two pieces
simultaneously and finished the scoring of the song one day after that of the scherzo.

The sardonic Fischpredigt scherzo skids into silence, and its final shudder is succeeded by
a new sound, the sound of a human voice. In summoning that resource, as he would in
his next two symphonies as well, Mahler consciously and explicitly evokes Beethoven's
Ninth Symphony. Urlicht, whose text also comes from Des Knaben Wunderhom, is one of
Mahler's loveliest songs and full of Mahlerian paradox, too, in that its hymnlike simplicity
and naturalness are achieved by a metrical flexibility so vigilant of prosody and so com-
plex that the opening section of thirty-five bars has twenty-one changes of meter. The
chamber-musical scoring is also characteristically detailed and inventive.

The peace that the song spreads over the symphony like balm is shattered by an out-
burst whose ferocity again refers to the corresponding place in Beethoven's Ninth. Like
Beethoven, Mahler draws on music from earlier in the symphony; not, however, in order
to reject it, but to build upon it. He arrays before us a great and pictorial pageant. Horns
sound in the distance (Mahler referred to this as "the crier in the wilderness"). A march
with a suggestion of the Gregorian Dies irae is heard, and so is other music saturated in
angst, more trumpet signals, marches, and a chorale. Then Mahler's "grofie Appell," the
Great Summons, the Last Trump: horns and trumpets loud but at a great distance, while
in the foreground a solitary bird flutters across the scene of destruction. Silence. From
that silence there emerges again the sound of human voices in a Hymn of Resurrection.
A few instruments enter to support the singers and, magically, at the word "rief"—
"called"— a single soprano begins to float free.

Although thoroughly aware of the perils of inviting comparison with Beethoven, Mahler
knew early that he wanted a vocal finale. The problem of finding the right text baffled
him for a long time. Once again the altogether remarkable figure of Hans von Bulow
enters the scene— Hans von Bulow, the pianist who gave the first performance of Tchai-
kovsky's most famous piano concerto (in Boston), who conducted the premieres of
Tristan and Meistersinger (and whose young wife left him for Wagner), and who was one
of the most influential supporters of Brahms. When Mahler went to the Hamburg Opera
in 1891, the other important conductor in town was Bulow, who was in charge of the
symphony concerts. Bulow was not often a generous colleague, but Mahler impressed
him, nor was his support diminished by his failure to like or understand the Todtenfeier
when Mahler played it for him on the piano: it made Tristan sound like a Haydn symphony,
he said.

As Bulow's health declined, Mahler began to substitute for him, and he was much affected
by Bulow's death early in 1894. At the memorial service in Hamburg, the choir sang a
setting of the Resurrection Hymn by the 18th-century Saxon poet Friedrich Gottlieb
Klopstock. "It struck me like lightning, this thing," Mahler wrote to Arthur Seidl, "and
everything was revealed to my soul clear and plain." He took the first two stanzas of
Klopstock's hymn and added to them verses of his own that deal still more explicitly with
the issue of redemption and resurrection.

WEEK 1 PROGRAM NOTES 51

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The lines about the vanquishing of pain and death are given to the two soloists in pas-
sionate duet. The verses beginning "Mit Flugeln, die ich mir errungen" ("With wings I won
for myself") form the upbeat to the triumphant reappearance of the chorale: "Sterben
werd' ich, um zu leben!" ("I shall die so as to live!"), and the symphony comes to its close
in a din of fanfares and pealing bells.

Michael Steinberg

MICHAEL STEINBERG was program annototor of the Boston Symphony Orchestra from 1976 to
1979, and after that of the San Francisco Symphony and New York Philharmonic. Oxford University
Press has published three compilation volumes of his program notes, devoted to symphonies, concer-
tos, and the great works for chorus and orchestra.

THE FIRST AMERICAN PERFORMANCE OF MAHLER'S SYMPHONY NO. 2 was in a concert
of the New York Symphony with Mahler conducting on December 8, 1908, with soloists Laura L.
Combs and Gertrude Stein Bailey and the Oratorio Society, as stated at the start of this program
note.

THE FIRST BOSTON SYMPHONY PERFORMANCES of the Mahler Second took place in non-
subscription concerts on January 22 and February 3, 1918; Karl Muck conducted, with soloists May
Peterson and Merle Alcock, and a "chorus of three hundred and fifty" prepared by Stephen Townsend
(see page 48). Leonard Bernstein led BSO performances on five occasions between 1948 (the BSO's
first subscription performances of the piece, in February 1948) and 1970; the sopranos were Ellabelle
Davis, Adelle Addison, Theresa Green, and Lorna Haywood, the mezzo-sopranos Suzanne Sten, Nan
Merriman, Jennie Tourel, and Christa Ludwig, and the choruses the Harvard Glee Club and Radcliffe
Choral Society (in Boston), the Festival Chorus prepared by Hugh Ross (at Tanglewood), and, in
1970, the combined Harvard Glee Club, Radcliffe Choral Society, and Tanglewood Festival Chorus.
BSO performances between 1960 and 1979 were conducted by Richard Burgin with Nancy Can,
Eunice Alberts, and the Chorus Pro Musica; William Steinberg with Benita Valente, Beverly Wolff,
the Harvard-Radcliffe Collegium Musicum (in Boston), and the Westminster Symphony Choir (in
New York); Seiji Ozawa with Susan Davenny Wyner, Maureen Forrester, the New England Conserva-
tory Chorus (in Boston), and the Tanglewood Festival Chorus (at Tanglewood); and Claudio Abbado
with Barbara Hendricks, Jessye Norman, and the New England Conservatory Chorus. Between
August 1984 and May 2000, all of the BSO's performances of the Mahler Second were led by Seiji
Ozawa, except for a 1989 tour performance in Hong Kong led by Stuart Challender when Ozawa
was ill. The sopranos for these performances included Edith Wiens, Jessye Norman (singing the alto
part), Henriette Schellenberg, Hildegard Behrens, Barbara Bonney, Heidi Grant Murphy, Paula
Delligatti, and Nancy Argenta; the mezzo-sopranos included Maureen Forrester, Naoko lhara,
Florence Quivar, and Michelle DeYoung; the choruses were the Tanglewood Festival Chorus, John
Oliver, conductor, and, in tour performances, the Philharmonia Chorus, the Wiener Singverein, the
Shinyu-Kai Choir, the Chicago Symphony Chorus, the Choeur de Radio France, and the West German
Radio Chorus. It was Ozawa who led the BSO's most recent subscription performances, in October
1999 and April 2000 (preceding tour performances in Paris and Cologne). Since then, the BSO has
performed the work only at Tanglewood, with conductors Rafael Fruhbeck de Burgos (July 2002,
with Elizabeth Futral and Sara Mingardo), Seiji Ozawa (August 2006, with Heidi Grant Murphy
and Nathalie Stutzmann), Bernard Haitink (July 2008, with Heidi Grant Murphy and Christianne
Stotijn), and, most recently Michael Tilson Thomas (on July 9, 2010, with Layla Claire and Stephanie
Blythe). All of these performances featured the Tanglewood Festival Chorus.

WEEK 1 PROGRAM NOTES 53

URLICHT

0 Roschen rot!

Der Mensch liegt in grosster Not!
Der Mensch liegt in grosster Pein!
Je lieber mocht ich im Himmel sein!

Da kam ich auf einen breiten Weg,

Da kam ein Engelein und wollt mich
abweisen.

Ach nein! Ich liess mich nicht
abweisen!

Ich bin von Gott und will wieder
zu Gott!

Der liebe Gott wird mir ein
Lichtchen geben,

Wird leuchten mir bis in das ewig

selig Leben!

from "Des Knaben Wunderhorn"
("The Boy's Magic Horn")

PRIMAL LIGHT

0 little red rose!

Humankind lies in greatest need!
Humankind lies in greatest pain!
Much rather would I be in Heaven!

Then I came onto a broad way,
And an angel came and wanted
to turn me away.

But no, I would not let myself be
turned away!

1 am from God and would return
to God!

Dear God will give me a light,
Will light me to eternal, blissful life!

The unaccompanied choral
entrance in the last movement,
from Mahler's manuscript

AUFERSTEHUNG

Aufersteh'n, ja aufersteh'n wirst du,
Mein Staub, nach kurzer Ruh!
Unsterblich Leben! Unsterblich Leben
Wird der dich rief dir geben!

Wieder aufzubluh'n wirst du gesat!
Der Herr der Ernte geht
Und sammelt Garben
Uns ein, die starben!

Friedrich Gottlieb Klopstock

0 glaube, mein Herz, o glaube:
Es geht dir nichts verloren!
Dein ist, Dein, ja Dein, was du

gesehnt!
Dein, was du geliebt,
Was du gestritten!

0 glaube:

Du wards nicht umsonst geboren!

Hast nicht umsonst gelebt, gelitten!

Was entstanden ist, das muss

vergehen!
Was vergangen, auferstehen!
Hor' auf zu beben!
Bereite dich zu leben!

O Schmerz! Du Alldurchdringer!

Dir bin ich entrungen!

O Tod! Du Allbezwinger!

Nun bist du bezwungen!

Mit Flugeln, die ich mir errungen,

In heissem Liebesstreben

Werd' ich entschweben

Zum Licht, zu dem kein Aug'

gedrungen!
Sterben werd' ich, um zu leben!

Aufersteh'n, ja aufersteh'n wirst du,

Mein Herz, in einem Nu!

Was du geschlagen,

Zu Gott wird es dich tragen!

Gustav Mahler

RESURRECTION

Rise again, yes, you will rise again,
My dust, after brief rest!
Immortal life! Immortal life
Will He who called you grant you!

To bloom again you were sown!
The Lord of the Harvest goes
And gathers sheaves,
Us, who died!

0 believe, my heart, but believe:
Nothing will be lost to you!
Yours is what you longed for,

Yours what you loved,
What you fought for!

0 believe:

You were not born in vain!
You have not lived in vain, nor
suffered!

What has come into being must

perish,
What has perished must rise again!
Cease from trembling!
Prepare to live!

0 Pain, piercer of all things,
From you I have been wrested!

0 Death, conqueror of all things,
Now you are conquered!

With wings I won for myself,
In love's ardent struggle,

1 shall fly upwards

To that light to which no eye has

penetrated!
I shall die so as to live!

Rise again, yes, you will rise again,
My heart, in the twinkling of an eye!
What you have conquered
Will bear you to God!

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Deryck Cooke's Gustav Mahler: An Introduction to his Music is a first-rate brief guide to the
composer's music (Cambridge University paperback). Other good starting points include
Peter Franklin's The life of Mahler in the series "Musical lives" (Cambridge University
paperback); Paul Banks's Mahler article from the 1980 New Grove Dictionary of Music
and Musicians, reprinted in The New Grove Turn of the Century Masters: Janacek, Mahler,
Strauss, Sibelius (Norton paperback); Michael Kennedy's Mahler in the "Master Musicians"
series (Oxford paperback), and Kurt Blaukopf's Mahler (Limelight paperback). The Mahler
article in the revised Grove (2001) is by Peter Franklin. Mahler enthusiast and conductor
Gilbert Kaplan has seen to the publication of The Mahler Album with the aim of bringing
together every known photograph of the composer (The Kaplan Foundation with Thames
and Hudson). The Kaplan Foundation's latest publication, published September 2010, is
Mahler's Concerts by Knud Martner, which offers the first detailed history of Mahler on
the podium, including music performed, soloists, concert halls, etc., for each of more
than 300 concerts (co-published with Overlook Press). Jonathan Carr's Mahler offers an
accessible approach aimed at beginners and enthusiasts (Overlook Press). Mahler Disco-
graphy, edited by Peter Fulop, will still be valuable to anyone interested in Mahler record-
ings, despite its 1995 publication date (The Kaplan Foundation). Michael Steinberg's
program notes on Mahler symphonies 1 through 10 are in his compilation volume The
Symphony-A Listener's Guide (Oxford paperback). Though now more than thirty years old,
Kurt Blaukopf's extensively illustrated Mahler: A Documentary Study remains well worth
seeking from second-hand shops (Oxford University Press). Additional information on
Mahler can be found as part of the BSO's "Classical Companion" feature at bso.org.

Henry-Louis de La Grange's biography of Mahler, originally in French, and of which a
four-volume English version is planned, so far includes three English-language volumes—
Vienna: The Years of Challenge, 1897-1904; Vienna: Triumph and Disillusion, 1904-1907; and
(the most recent volume, covering his final years) Gustav Mahler: A New Life Cut Short,
1907-1911 (Oxford). The out-of-print, original first volume of La Grange's study, entitled
simply Mahler, and due for revision, covered Mahler's life and work through January 1902
(Doubleday). The other big Mahler biography, Donald Mitchell's, so far extends to three
volumes— Volume I: The Early Years; Volume II: The Wunderhorn Years; and Volume III:
Songs and Symphonies of Life and Death— covering through the period of Das Lied von der
Erde (University of California). Additions to the Mahler bibliography in recent years
include The Cambridge Companion to Mahler, edited by Jeffrey Barham (Cambridge Univer-

WEEK 1 READ AND HEAR MORE 57

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sity paperback); Gustav Mahler: Letters to his Wife, edited by Antony Beaumont, Henry-Louis
de La Grange, and Gunther Weiss (Cornell University Press; Beaumont previously com-
piled Alma Mahler-Werfel: Diaries 1898-1902, from the same publisher); and Stuart Feder's
Gustav Mahler: A Life in Crisis, a psychoanalytic view of the composer's life (Yale University
Press). The Mahler Companion, edited by Donald Mitchell and Andrew Nicholson, is an
important volume of essays devoted to Mahler's life, works, and milieu, with individual
chapters on all of his major pieces, including a chapter by Edward R. Reilly on the Sym-
phony No. 2 (Oxford). Alma Mahler's autobiography And the Bridge is Love (Harcourt
Brace Jovanovich) and her Gustav Mahler: Memories and Letters (University of Washington
paperback) provide important if necessarily subjective source materials. Knud Martner's
Gustav Mahler: Selected Letters offers a useful volume of correspondence, including all the
letters published in Alma's earlier collection (Farrar, Straus and Giroux).

The Boston Symphony Orchestra and Seiji Ozawa recorded Mahler's Symphony No. 2
in 1986 with Kiri Te Kanawa, Marilyn Home, and the Tanglewood Festival Chorus, John
Oliver, conductor, as part of their complete Mahler symphony cycle for Philips. Ozawa
also recorded it more recently with the Saito Kinen Orchestra (Sony). Bernard Haitink
has recorded the Mahler Second with the Chicago Symphony Orchestra (a November
2008 live performance on CSO Resound), the Berlin Philharmonic (Philips), and the
Concertgebouw Orchestra of Amsterdam (also Philips). Other noteworthy recordings
include Leonard Bernstein's with the New York Philharmonic (Sony; there are also later
Bernstein recordings with the New York Philharmonic, Vienna Philharmonic, and Concert-
gebouw Orchestra), Claudio Abbado's with the Vienna Philharmonic (Deutsche Gram-
mophon) or more recently with the Lucerne Festival Orchestra (also DG), Pierre Boulez's
with the Vienna Philharmonic (Deutsche Grammophon), Georg Solti's with the London
Symphony Orchestra (Decca), Klaus Tennstedt's with the London Philharmonic (notably
a live 1989 performance on that orchestra's own LPO label), and Michael Tilson Thomas's
with the San Francisco Symphony Orchestra (a live 2004 performance on that orchestra's
own label; listeners may want to know that the mezzo-soprano on this recording is
Lorraine Hunt Lieberson).

Marc Mandel

WEEK 1 READ AND HEAR MORE 59

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0^ Guest Artists

Layla Claire

Soprano Layla Claire has been acclaimed in concert and opera, particularly for her portrayals
of Mozart's heroines. This past summer at Tanglewood she made her Boston Symphony
Orchestra debut in Mahler's Symphony No. 2 conducted by Michael Tilson Thomas. The cur-
rent season brings her BSO subscription series debut this week in the same work, and her
Metropolitan Opera debut as Tebaldo in Don Carlo under the baton of Yannick Nezet-Seguin.
As a member of the Metropolitan Opera's Lindemann Young Artist Development Program,
she will cover Euridice in Orfeo ed Euridice, and in the spring of 2011 join the Metropolitan
Opera's tour of Japan. Recent performances include opera galas with the San Francisco Sym-
phony and I'Opera de Montreal, recitals with the Philadelphia Chamber Society and the Linde-
mann Program, Beethoven's Ninth Symphony with the Russian National Orchestra under the
baton of Itzhak Perlman, Messiah with the Atlanta Symphony, Clothilde in Bellini's Norma with
the Montreal Symphony conducted by Kent Nagano, and Mahler's Fourth Symphony with the
Virginia Symphony Orchestra. As a Tanglewood Music Center Vocal Fellow, with James Levine
conducting, she was Fiordiligi in the 2007 TMC production of Cos) fan tutte and Donna Anna
in the 2009 TMC production of Don Giovanni. While at the Curtis Institute of Music she was
Donna Elvira in Don Giovanni and the Countess in Le none di Figaro. At Curtis she also sang -
Erisbe in Cavalli's L'Ormindo and Margarita Xirgu in Osvaldo Golijov's Ainadamar. Layla Claire
has won numerous awards, including the first-ever Hildegard Behrens Foundation Award (2010),
the Mozart Prize at the Wilhelm Stenhammar International Music Competition (2008), and
first prize in the Eckhardt-Gramatte National Music Competition (2005). She is a CBC Radio-

WEEK 1 GUEST ARTISTS

Canada Jeunes Artistes recital winner, a recipient of J. Desmarais Foundation scholarships,
and recipient of a Canada Council Grant. She has also taken prizes at the Queen Elisabeth
International Competition, Palm Beach Opera Competition, George London Foundation, and
the Marian Anderson Prize for Emerging Classical Artists.

Karen Cargill

Scottish mezzo-soprano Karen Cargill makes her Boston Symphony Orchestra debut in these
season-opening subscription performances of Mahler's Symphony No. 2, having made her
Tanglewood debut this past summer in the Tanglewood Music Center Orchestra's perform-
ance of Mahler's Symphony No. 3 led by Michael Tilson Thomas. Ms. Cargill studied at
the Royal Scottish Academy of Music and Drama, Glasgow, the University of Toronto, and
the National Opera Studio in London; she was the joint winner of the 2002 Kathleen Ferrier
Award. Other recent and future concert highlights include Mahler's Resurrection Symphony at
the 2011 Edinburgh Festival with the BBC Scottish Symphony Orchestra and Donald Runnicles;
Mahler's Symphony No. 3 with Yannick Nezet-Sequin and the Rotterdam Philharmonic and
with Myung-Whun Chung and the Seoul Philharmonic Orchestra; Mahler's Symphony No. 8
with the Berlin Philharmonic Orchestra and Sir Simon Rattle; Tippett's A Child of Our Time with
Robin Ticciati in Rotterdam and Vienna; Mahler's Ruckert-Lieder with both the Residentie and
BBC Scottish symphony orchestras; Beethoven's Missa Solemnis with the Atlanta Symphony
Orchestra and Donald Runnicles and with the Orquestra Nacional de Espana and Christian
Zacharias; and Berlioz's Les Nuits d'etes with the Swedish Radio Symphony Orchestra and
Nikolai Znaider. Future opera plans include her United States opera debut at the Metropolitan
Opera singing Waltraute in Gotterdammerung and Anna in Les Troyens; her Royal Opera,
Covent Garden, debut as the First Norn in their Ring cycle with Anthony Pappano; and Mere
Marie in Poulenc's Les Dialogues des Carmelites for the Opera Company of Ljubljana under
Emmanuel Villaume. Ms. Cargill has also appeared with Scottish Opera as Rosina in Rossini's
The Barber of Seville, returning in the 2009-10 season as Isabella in Rossini's L'italiana in Algeri;
with English National Opera as Suzuki in Madama Butterfly, and with Deutsche Oper Berlin

singing Waltraute. Regular UK appearances include concerts with the BBC Symphony and
Philharmonic orchestras, the Halle Orchestra, Royal Liverpool Philharmonic, London Philhar-
monic, and London Symphony Orchestra. In the 2009-10 season she was Artist in Association
of the Scottish Chamber Orchestra, where she sang Berlioz's La Mort de Cleopatre and L'Enfance
du Christ and Wagner's Wesendonck Lieder. Regular visits to the BBC Proms have included
Mahler's Symphony No. 3 with the BBC Scottish Symphony and Runnicles, Mendelssohn's
Elijah with Kurt Masur, and Constant Lambert's The Rio Grande at Last Night of the Proms, as
well as Waltraute in Gotterdammerung and Mahler's Das Lied von der Erde, both with Runnicles.
Past highlights have included Beethoven's Symphony No. 9 in New York with Bernard Haitink,
Berlioz's L'Enfance du Christ and Verdi's Requiem with the London Symphony Orchestra and
Sir Colin Davis in London, both recorded for LSO Live; Waltraute in Gotterdammerung with the
Berlin Philharmonic and Sir Simon Rattle, Berlioz's Les Nuits d'ete with the LPO, Brahms's Alto
Rhapsody with the Halle Orchestra and Marc Albrecht, and Mahler's Resurrection Symphony
with the LSO and Michael Tilson Thomas. Karen Cargill has appeared at the Wigmore Hall
both in solo recitals with Simon Lepper and in a concert with the Nash Ensemble; she will
return there in 2011 in a duo-recital with Sally Matthews. Other recent recital appearances
have included a performance of Brahms's Opus 91 songs with Maxim Rysanov and Katya
Apekisheva as part of the BBC Lunchtime Concert Series at LSO, St. Luke's, London.

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WEEK 1 GUEST ARTISTS

Tanglewood Festival Chorus
John Oliver, Conductor

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founding conductor John Oliver celebrated the anniversary by joining the BSO in works by
Mahler, Stravinsky, Mozart, Poulenc, Hoist, and Beethoven. With John Oliver conducting, it
began its summer season with an all-French Prelude Concert in Ozawa Hall and opened the
BSO's final Tanglewood concert with Bach's Jesu, meine Freude. Also this past summer it joined
the Tanglewood Music Center Orchestra in Mahler's Symphony No. 3, and Keith Lockhart and
the Boston Pops Orchestra in the Tanglewood premiere of Peter Boyer's and Lynn Ahrens's
The Dream Lives On: A Portrait of the Kennedy Brothers, commissioned for the 125th anniversary
of the Boston Pops.

Founded in January 1970, when conductor John Oliver was named Director of Choral and
Vocal Activities at the Tanglewood Music Center, the Tanglewood Festival Chorus made its
debut on April 11 that year, in a performance of Beethoven's Symphony No. 9 with Leonard
Bernstein conducting the Boston Symphony Orchestra. Made up of members who donate
their time and talent, and formed originally under the joint sponsorship of Boston University
and the Boston Symphony Orchestra for performances during the BSO's Tanglewood season,
the chorus originally numbered 60 well-trained Boston-area singers but soon expanded to a
complement of 120 singers and also began playing a major role in the BSO's subscription
season, as well as in BSO performances at New York's Carnegie Hall. The chorus made its
Carnegie Hall debut on October 10, 1973, in Berlioz's La Damnation de Faust with Seiji Ozawa
and the orchestra. Now numbering more than 250 members, the Tanglewood Festival Chorus
performs year-round with the Boston Symphony Orchestra and Boston Pops, and has developed
an international reputation for its skill, intelligence, versatility, thrilling sound, and enthusiastic
performances.

The Tanglewood Festival Chorus gave its first overseas performances in December 1994, tour-
ing with Seiji Ozawa and the BSO to Hong Kong and Japan in music of Berlioz, including the
Asian premiere of the composer's Messe solennelle. In 2001 the chorus joined Bernard Haitink
and the BSO during their tour of European music festivals for music of Stravinsky and Ravel,
also performing an a cappella program of its own in the Dom Cathedral in Lubeck, Germany.
Most recently, following its 2007 Tanglewood season, the chorus joined James Levine and the
BSO on tour in Europe for Berlioz's La Damnation de Faust in Lucerne, Essen, Paris, and London,
also giving its own a cappella concerts in Essen and Trier. The chorus's first recording with the
BSO, Berlioz's La Damnation de Faust with Seiji Ozawa, recorded in October 1973, received a
Grammy nomination for Best Choral Performance of 1975. In 1979 the ensemble received a
Grammy nomination for its album of a cappella 20th-century American choral music recorded
at the express invitation of Deutsche Grammophon, and its recording of Schoenberg's Gurrelieder
with Ozawa and the BSO was named Best Choral Recording by Gramophone magazine. The
Tanglewood Festival Chorus has since made dozens of recordings with the BSO and Boston
Pops, on Deutsche Grammophon, New World, Philips, Nonesuch, Telarc, Sony Classical, CBS
Masterworks, RCA Victor Red Seal, and BSO Classics, with conductors James Levine, Seiji
Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams.
The latest additions to the chorus's discography on BSO Classics, all drawn from live perform-
ances, include a disc of a cappella music by Bach, Bruckner, Copland, Antonio Lotti, and Frank
Martin released to mark the ensemble's 40th anniversary, and, with James Levine and the

WEEK 1 GUEST ARTISTS

BSO, Ravel's complete Daphnis and Chloe (which won the Grammy Award for Best Orchestral
Performance of 2009), Brahms's Ein deutsches Requiem, and William Bolcom's Eighth Symphony
for chorus and orchestra, a BSO 125th Anniversary Commission composed specifically for the
BSO and Tanglewood Festival Chorus.

"The performances — from Mozart and
Beethoven to Stravinsky and Britten —
have been revelations."
- Lloyd Schwartz, The Boston Phoenix

Qjscovery

Ensemble

Courtney Lewis, Conductor

UPCOMING CONCERTS

Sunday

October 17,

Sanders Theatre,

3 pm

Martinu

Double Concerto for

Two String Orchestras,

Piano and Timpani

Schoenberg

First Chamber
Symphony

Beethoven

Symphony No. 3,
"Eroica"

Friday

November 12,

Sanders Theatre,

8 pm

Stravinsky

Concerto in E-flat,
"Dumbarton Oaks"

Ades

Three Studies from
Couperin

Beethoven

Symphony No. 6,
"Pastorale"

Tickets 617-496-2222

www.discoveryensemble.com

UNIQUE
VOICES

Andrius Zlabys, piano

Works by Bach, Debussy,
Sharlat, and Liszt

Saturday, October 16, 8:00pm

Edward M. Pickman Hall
27 Garden Street, Cambridge

Tickets: $20 adults / $10 students & seniors
For tickets visit www.longy.edu/tickets

The Unique Voices Series is made possible by the
generous support of Jane and Neil Pappalardo.

Loney

School of Music ^—^ -*-

its Jordan Hall debut program at the New England Conservatory of Music in May 2004. The
ensemble had the honor of singing at Sen. Edward Kennedy's funeral; has performed with the
Boston Pops for the Boston Red Sox on Opening Day, and can also be heard on the sound-
tracks to Clint Eastwood's Mystic River, John Sayles's Silver City, and Steven Spielberg's Saving
Private Ryan.

TFC members regularly commute from the greater Boston area, western Massachusetts,
Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently
return each summer from as far away as Florida and California to sing with the chorus at
Tanglewood. Throughout its forty-year history, the Tanglewood Festival Chorus has estab-
lished itself as a favorite of conductors, soloists, critics, and audiences alike.

John Oliver

John Oliver founded the Tanglewood Festival Chorus in 1970 and has since prepared the TFC
for more than 900 performances, including appearances with the Boston Symphony Orches-
tra at Symphony Hall, Tanglewood, Carnegie Hall, and on tour in Europe and the Far East, as
well as with visiting orchestras and as a solo ensemble. He has had a major impact on musi-
cal life in Boston and beyond through his work with countless TFC members, former students
from the Massachusetts Institute of Technology (where he taught for thirty-two years), and
Fellows of the Tanglewood Music Center who now perform with distinguished musical institu-
tions throughout the world. Mr. Oliver's affiliation with the Boston Symphony began in 1964
when, at twenty-four, he prepared the Sacred Heart Boychoir of Roslindale for the BSO's per-
formances and recording of excerpts from Berg's Wozzeck led by Erich Leinsdorf. In 1966 he
prepared the choir for the BSO's performances and recording of Mahler's Symphony No. 3,
also with Leinsdorf, soon after which Leinsdorf asked him to assist with the choral and vocal
music program at the Tanglewood Music Center. In 1970, Mr. Oliver was named Director of
Vocal and Choral Activities at the Tanglewood Music Center and founded the Tanglewood
Festival Chorus. He has since prepared the chorus in more than 200 works for chorus and

WEEK 1 GUEST ARTISTS

orchestra, as well as dozens more a cappella pieces, and for more than forty commercial
releases with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein,
Keith Lockhart, and John Williams. He made his Boston Symphony conducting debut at
Tanglewood in August 1985, led subscription concerts for the first time in December 1985,
conducted the orchestra most recently in July 1998, and returned to the BSO podium to open
the BSO's final Tanglewood concert of this past summer with a TFC performance of Bach's
motet, Jesu, meine Freude.

In addition to his work with the Tanglewood Festival Chorus and Tanglewood Music Center,
Mr. Oliver has held posts as conductor of the Framingham Choral Society, as a member of the
faculty and director of the chorus at Boston University, and for many years on the faculty of
MIT, where he was lecturer and then senior lecturer in music. While at MIT, he conducted the
MIT Glee Club, Choral Society, Chamber Chorus, and Concert Choir. In 1977 he founded the
John Oliver Chorale, which performed a wide-ranging repertoire encompassing masterpieces
by Bach, Beethoven, Mozart, and Stravinsky, as well as seldom heard works by Carissimi,
Bruckner, Ives, Martin, and Dallapiccola. With the Chorale he recorded two albums for Koch
International: the first of works by Martin Amlin, Elliott Carter, William Thomas McKinley,
and Bright Sheng, the second of works by Amlin, Carter, and Vincent Persichetti. He and the
Chorale also recorded Charles Ives's The Celestial Country and Charles Loeffler's Psalm 137 for
Northeastern Records, and Donald Martino's Seven Pious Pieces for New World Records. Mr.
Oliver's appearances as a guest conductor have included Mozart's Requiem with the New
Japan Philharmonic and Shinsei Chorus, and Mendelssohn's Elijah and Vaughan Williams's
A Sea Symphony with the Berkshire Choral Institute. In May 1999 he prepared the chorus and
children's choir for Andre Previn's performances of Benjamin Britten's Spring Symphony with
the NHK Symphony in Japan; in 2001-02 he conducted the Carnegie Hall Choral Workshop
in preparation for Previn's Carnegie performance of Brahms's Ein deutsches Requiem. Also an
expert chef and master gardener, John Oliver lives in western Massachusetts.

Symphony Shopping

Visit the Symphony Shop
in the Cohen Wing
at the West Entrance
on Huntington Avenue.

Open Thursday and Saturday, 3-6pm,
and for all Symphony Hall performances
through intermission.

BOSTON SYMPHONY ORCHESTRA

Tanglewood Festival Chorus
John Oliver, Conductor

(Mahler Symphony No. 2, October 7-12, 2010)

The Tanglewood Festival Chorus is celebrating its 40th anniversary this season. In the following
list, § denotes membership of 40 years * denotes membership of 35-39 years, and # denotes mem-
bership of 25-34 years.

SOPRANOS

Deborah Abel ■ Michele Bergonzi# • Joy Emerson Brewer • Jeni Lynn Cameron • Catherine C. Cave
Anna S. Choi • Sarah Dorfman Daniello# • Christine Pacheco Duquette* • Karen Ginsburg •
Kathy Ho • Mikhaela E. Houston • Stephanie Janes • Polina Dimitrova Kehayova • Carrie Kenney •
Nancy Kurtz • Glenda Landavazo • Leslie A. Leedberg • Barbara Abramoff Levy * ■ Ruthie Miller ■
Kathleen Molony • Kieran Murray • Jaylyn Olivo • Livia M. Racz • Laura C. Sanscartier •
Johanna Schlegel ■ Pamela Schweppe ■ Joan P. Sherman § • Dana R. Sullivan • Victoria Thornsbury
Lisa Watkins • Alison L. Weaver • Alison Zangari

MEZZO-SOPRANOS

Virginia Bailey • Martha A. R. Bewick • Betsy Bobo ■ Lauren A. Boice • Donna J. Brezinski ■

Laura B. Broad ■ Angelina Calderon • Abbe Dalton Clark • Cypriana Slosky Coelho •

Kathryn DerMarderosian • Diane Droste • Barbara Naidich Ehrmann • Paula Folkman# •

Debra Swartz Foote • Irene Gilbride* • Denise Glennon • Mara Goldberg ■ Rachel K. Hallenbeck •

Julie Hausmann ■ Betty Jenkins • Gale Livingston* ■ Katherine Mallin • Louise-Marie Mennier ■

FumikoOhara# ■ Kathleen Hunkele Schardin ■ Ada Park Snider* ■ Julie Steinhilber# •

Martha F. Vedrine • Cindy M. Vredeveld • Christina Lillian Wallace ■ Marguerite Weidknecht

TENORS

Brad W. Amidon • James Barnswell • John C. Barr# ■ Adam Kerry Boyles • Fredric Cheyette •
Stephen Chrzan ■ Andrew Crain • Ron Efromson ■ Carey D. Erdman • James E. Gleason ■
J. Stephen Groff# • David Halloran* ■ John W. Hickman# • Stanley G. Hudson* •
James R. Kauffman# • Thomas Kenney • Carl Kraenzel • Lance Levine • Ronald Lloyd •
John Vincent Maclnnis* ■ Dwight E. Porter # • Guy F. Pugh • Peter Pulsifer • David L. Raish# •
Peter L. Smith ■ Joseph Y. Wang ■ Hyun Yong Woo

BASSES

Nathan Black ■ Daniel E. Brooks # ■ Matthew Collins • Michel Epsztein • Eli Gerstenlauer •
Jim Gordon • Jay S. Gregory ■ Mark L. Haberman# • Jeramie D. Hammond • Marc J. Kaufman •
David M. Kilroy ■ G.P. Paul Kowal • Bruce Kozuma • Timothy Lanagan* ■ Ryan M. Landry •
Nathan Lofton ■ Christopher T. Loschen • Eryk P. Nielsen ■ Richard Oedel • Stephen H. Owades5 •
Michael Prichard • Bradley Putnam • Sebastian Remi ■ Peter Rothstein * • Jonathan Saxton ■
Karl Josef Schoellkopf ■ Kenneth D. Silber ■ Stephen Tinkham • Bradley Turner •
Jonathan VanderWoude ■ Thomas C. Wang# • Terry L. Ward • Matthew Wright

Mark B. Rulison, Chorus Manager
Martin Amlin, Rehearsal Pianist

WEEK 1 GUEST ARTISTS 69

&^ The Great Benefactors

In the building of his new symphony for Boston, the BSO's founder and first benefactor,
Henry Lee Higginson, knew that ticket revenues could never fully cover the costs of running
a great orchestra. From 1881 to 1918 Higginson covered the orchestra's annual deficits with
personal contributions that exceeded $1 million. The Boston Symphony Orchestra now
honors each of the following generous donors whose cumulative giving to the BSO is
$1 million or more with the designation of Great Benefactor. For more information, please
contact Elizabeth P. Roberts, Director of Development— Campaign and Individual Giving,
at 617-638-9269 or eroberts@bso.org.

TEN MILLION AND ABOVE

Mr. Julian Cohen t • Fidelity Investments ■ Linde Family Foundation •
Ray and Maria Stata • Anonymous

SEVEN AND ONE HALF MILLION

Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr., and Mary L. Cornille

FIVE MILLION

Bank of America and Bank of America Charitable Foundation •
Paul and Catherine Buttenwieser • Germeshausen Foundation •
NEC Corporation • Stephen and Dorothy Weber • Anonymous

TWO AND ONE HALF MILLION

Mr. and Mrs. J. P. Barger • Peter and Anne Brooke ■

Eleanor L. Campbell and Levin H. Campbell • Commonwealth of Massachusetts •

Cynthia and Oliver Curme/The Lost & Foundation, Inc. •

Alan J. and Suzanne W. Dworsky • EMC Corporation ■ Jane and Jack Fitzpatrick •

Sally and Michael Gordon • Susan Morse Hilles Trust •

National Endowment for the Arts ■ William and Lia Poorvu ■

Miriam and Sidney Stoneman t • Estate of Elizabeth B. Storer • Anonymous (2)

ONE MILLION

American Airlines • Mr. and Mrs. Harlan E. Anderson • Dorothy and David B. Arnold, Jr.

AT&T ■ The Bank of New York Mellon • Gabriella and Leo Beranek •

Mr. William I. Bernell t • George and Roberta Berry ■ Alan S. and Lorraine D. Bressler

Jan Brett and Joseph Hearne • Chiles Foundation •

Mr. t and Mrs. William H. Congleton • William F. ConnelM" and Family •

Country Curtains ■ John and Diddy Cullinane • Lewis S. and Edith L. Dabney •

Mr. and Mrs. Stanton W. Davis t • Estate of Mrs. Pierre de Beaumont ■

Estate of Elizabeth B. Ely ■ John P. II and Nancy S. t Eustis •

The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts •

Shirley and Richard Fennell • Estate of Anna E. Finnerty ■

The Ann and Gordon Getty Foundation ■ Estate of Marie L. Gillet •

The Gillette Company • Sophia and Bernard Gordon • Mrs. Donald C. Heath t •

Estate of Francis Lee Higginson • Major Henry Lee Higginson t •

Estate of Edith C. Howie • John Hancock Financial Services •

Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation •

Estate of Richard L. Kaye ■ George H. t and Nancy D. Kidder •

Harvey Chet t and Farla Krentzman • The Kresge Foundation •

Liz and George Krupp • Bill t and Barbara Leith ■ Liberty Mutual Foundation, Inc. •

Estates of John D. and Vera M. MacDonald • Nancy Lurie Marks Family Foundation •

Andrew W. Mellon Foundation • Kate and Al Merck • Mr. and Mrs. Nathan R. Miller

Mr. and Mrs. Paul M. Montrone • The Richard P. and Claire W. Morse Foundation •

William Inglis Morse Trust ■ Mrs. Robert B. Newman ■

Mrs. Mischa Nieland and Dr. Michael L. Nieland ■ Megan and Robert O'Block •

Mr. Norio Ohga ■ Carol and Joe Reich • Mr. and Mrs. Dwight P. Robinson, Jr. t •

Susan and Dan Rothenberg • Estate of Wilhemina C. Sandwen •

Dr. Raymond and Hannah H. t Schneider • Carl Schoenhof Family •

Arthur I. Segel and Patti B. Saris • Kristin and Roger Servison •

Ruth and Carl J. Shapiro • Miriam Shaw Fund ■

Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith •

Sony Corporation of America • State Street Corporation ■ Thomas G. Sternberg •

Dr. Nathan B. and Anne P. Talbot t • Caroline and James Taylor •

Diana 0. Tottenham ■ The Wallace Foundation • Roberta and Stephen R. Weiner •

The Helen F. Whitaker Fund • Mr. and Mrs. John Williams ■

Estate of Mrs. Helen Zimbler • Anonymous (8)

T Deceased

WEEK 1 THE GREAT BENEFACTORS ( 71

— The Higginson Society

JOHN LODER, CHAIR boston symphony orchestra annual funds
GENE D. DAHMEN, CO-CHAIR symphony annual fund
JEFFREY E. MARSHALL, CO-CHAIR symphony Aannual fund

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds
on the legacy of the Boston Symphony Orchestra's founder and first benefactor, Henry Lee Higginson.
The BSO is grateful to Higginson Society members whose gifts to the Symphony Annual Fund provide
$3.1 million in support. The BSO acknowledges the generosity of the donors listed below, whose gifts
we received by September 15, 2010.

For more information about joining the Higginson Society, contact Allison Cooley, Associate Director
of Society Giving, at (617) 638-9254 or acooley@bso.org.

fThis symbol denotes a deceased donor.

VIRTUOSO 550,000 to 99,999

Peter and Anne Brooke • Ted and Debbie Kelly • John S. and Cynthia Reed •
Mrs. Joan T. Wheeler t

ENCORE $25,000 to 49,999

Mr. and Mrs. George D. Behrakis • Gregory E. Bulger Foundation/

Gregory Bulger and Richard Dix • Cynthia and Oliver Curme •

Alan J. and Suzanne W. Dworsky • Mr. Alan Dynner • William and Deborah Elfers •

Mr. and Mrs. Steven S. Fischman • Joy Gilbert, in memory of Richard Gilbert ■

Mr. and Mrs. Amos B. Hostetter, Jr. • Mr. and Mrs. Stephen R. Karp • Mrs. Edward Linde •

Elizabeth W. and John M. Loder • Richard and Nancy Lubin • Mr. and Mrs. Jeffrey E. Marshall

Carmine A. and Beth V. Martignetti • Mrs. August R. Meyer • Robert J. Morrissey •

Megan and Robert O'Block • William and Lia Poorvu ■ Mr. Irving W. Rabb •

Louise C. Riemer • Susan and Dan Rothenberg • Patti Saris and Arthur Segel •

Richard A. and Susan F. Smith • Stephen and Dorothy Weber •

Roberta and Stephen R. Weiner ■ Linda M. and D. Brooks Zug • Anonymous

MAESTRO $15,000 to 24,999

Alii and Bill Achtmeyer • Harlan and Lois Anderson • Dorothy and David Arnold •

Joan and John Bok • Mr. and Mrs. John M. Bradley • Alan S. and Lorraine D. Bressler •

Samuel B. and Deborah D. Bruskin ■ Paul and Catherine Buttenwieser •

Ronald and Ronni Casty • John F. Cogan, Jr., and Mary L. Cornille • John and Diddy Cullinane

Dr. and Mrs. Philip D. Cutter • Robert and Evelyn Doran • Julie and Ronald M. Druker •

Tom and Jody Gill • Thelma and Ray Goldberg • Roberta Goldman •

Mrs. Francis W. Hatch, Jr. • Mr. and Mrs. Brent L Henry • Paul L. King •

Lizbeth and George Krupp • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Kate and Al Merck •

Ann Merrifield and Wayne Davis • Mr. and Mrs. Frank Pao • Mr. and Mrs. Daniel Pierce •

Carole and Edward I. Rudman • Mr. Benjamin Schore ■ Kristin and Roger Servison •

Rick and Terry Stone • Drs. Christoph and Sylvia Westphal • Robert and Roberta Winters •

Anonymous (2)

PATRON $io,ooo to 14,999

Amy and David Abrams • Mr. David and Dr. Sharman Altshuler • Ms. Lucille M. Batal •

Gabriella and Leo Beranek • George and Roberta Berry • Ms. Ann Bitetti and Mr. Doug Lober •

Mrs. Linda Cabot Black • Mark G. and Linda Borden • William David Brohn •

Eleanor L. Campbell and Levin H. Campbell • Mr. Joseph M. Cohen • Dr. Lawrence H. Cohn and

Roberta Cohn • Mrs. William H. Congleton • Lewis S. and Edith L. Dabney •

Mr. and Mrs. Miguel de Braganca • Roger and Judith Feingold • Larry and Atsuko Fish ■

Laurel E. Friedman ■ Carol and Robert Henderson • Susan Hockfield and Thomas N. Byrne •

Ms. Emily C. Hood • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Stephen B. Kay and

Lisbeth Tarlow • Kingsbury Road Charitable Foundation ■ Farla Krentzman ■

Pamela Kunkemueller • Anne R. Lovett and Stephen G. Woodsum • John Magee •

Dr. and Mrs. Joseph B. Martin • Dr. Robert and Jane B. Mayer • Ms. Sandra 0. Moose •

Richard P. and Claire W. Morse Foundation • Mrs. Robert B. Newman •

Jane and Neil Pappalardo • Drs. Joseph J. and Deborah M. Plaud • John and Susanne Potts ■

William and Helen Pounds • Linda and Laurence t Reineman • Debbie and Alan Rottenberg •

Maureen and Joe Roxe/The Roxe Foundation • Mr. and Mrs. Douglas H. Sears •

Ruth and Carl J. Shapiro • Ms. Eileen C. Shapiro and Dr. Reuben Eaves •

Mr. and Mrs. Christopher Smallhorn • Ray and Maria Stata • Thomas G. Sternberg ■

Tazewell Foundation • Mr. and Mrs. Stephen G. Traynor • Mr. and Mrs. David C. Weinstein •

James Westra • Joan D. Wheeler • Drs. Richard and Judith Wurtman ■ Anonymous (2)

SPONSORS $5,000 to 9,999

Dr. and Mrs. Noubar Afeyan • Vernon R. Alden • Joel and Lisa Schmid Alvord •

Mr. and Mrs. Walter Amory • Diane M. Austin and Aaron J. Nurick •

Mr. and Mrs. Sherwood E. Bain • Judith and Harry Barr • Roz and Wally Bernheimer •

Brad and Terrie Bloom • Joanne and Timothy Burke • Mr. Charles Christenson •

Mrs. Abram T. Collier • Marvin and Ann Collier • Mr. Eric D. Collins and

Mr. Michael Prokopow ■ Don and Donna Comstock • Howard Cox •

Mr. and Mrs. Albert M. Creighton, Jr. • Mrs. Bigelow Crocker • Joan P. and Ronald C. Curhan •

The Curvey Family Foundation • Gene and Lloyd Dahmen • Tamara P. and Charles H. Davis II •

Lori and Paul Deninger • Charles and JoAnne Dickinson • Mr. and Mrs. Philip J. Edmundson •

Mrs. Priscilla Endicott • Pamela D. Everhart • Shirley and Richard Fennell • Mr. John Gamble •

Beth and John Gamel ■ David Endicott Gannett • Jane and Jim Garrett •

Mrs. Bernice B. Godine • Mr. and Mrs. Mark Goldweitz • Mr. and Mrs. Raymond C. Green •

Mr. and Mrs. Ulf B. Heide ■ Mr. and Mrs. Richard D. Hill ■ Mr. John Hitchcock •

Patricia and Galen Ho • Mr. and Mrs. Charles Hood • Mr. Timothy P. Home •

WEEK 1 THE HIGGINSON SOCIETY ( 73

Provocative. Intense
Exhilarating. Live.

Fl.'CCIM

November 5 -16, 2010

February 1-6,2011

March 11 -22. 2011

April 29 -May 10, 2011

Superb voices, international talent, stunning music. Don't miss the
thrill of live performance at Boston Lyric Opera, blo.org, 617.542.6772

"Vocally speaking, Boston Lyric Opera has been having its
strongest season in years."— Kalen Ratzlaff, Opera News

• •••

Boston Lyric Opera

2010-2011 SEASON

Esther NeLon — General eJ Art u* tic Director
David Angus — Music Director

Yuko and Bill Hunt • Mimi and George Jigarjian • Holly and Bruce Johnstone •

Jerry and Darlene Jordan • Edna S. and Bela T. Kalman ■ Mr. and Mrs. Michael L. Keiser •

Mr. David Kendall t and Ms. Nancy F. Smith ■ Seth A. and Beth S. Klarman ■

Mr. Andrew Kotsatos and Ms. Heather Parsons • Mrs. Barbara N. Kravitz •

Mr. and Mrs. Peter E. Lacaillade • Mr. and Mrs. Charles Larkin • Mr. and Mrs. David S. Lee •

Christopher and Laura Lindop • Nancy Lurie Marks Family Foundation •

Mr. and Mrs. Marc Mayer • JoAnn McGrath • Robert and Dale Mnookin •

Mr. and Mrs. Paul M. Montrone • Lucia B. Morrill Charitable Foundation • William A. Oates ■

Annette and Vincent O'Reilly ■ Jay and Eunice Panetta • Dr. and Mrs. Maurice Pechet •

Mr. and Mrs. E. Lee Perry • Ann M. Philbin • Dr. and Mrs. Irving H. Plotkin •

Mr. and Mrs. Jonathan Poorvu • Dr. Tina Young Poussaint and Dr. Alvin Poussaint •

Walter and Karen Pressey ■ Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff ■

Peter and Suzanne Read • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer •

Lisa and Jonathan Rourke « Mrs. George R. Rowland ■ Sean Rush and Carol C. McMullen •

Mr. and Mrs. Grant Schaumberg • Ms. Lynda Anne Schubert • Linda and Arthur Schwartz •

Mr. and Mrs. Robert G. Scully ■ Mr. Marshall H. Sirvetz • Gilda and Alfred Slifka •

Mrs. Fredrick J. Stare • Mr. and Mrs. David Stokkink • Patricia Hansen Strang •

Patricia L. Tambone ■ Mr. and Mrs. Theodore H. Teplow • Mr. and Mrs. Mark D. Thompson •

Mrs. Blair Trippe • Robert A. Vogt • Gail and Ernst von Metzsch • Eric and Sarah Ward •

Mr. and Mrs. Harvey A. Wartosky • Mrs. Charles H. Watts II • Harry and Ruth Wechsler •

Mrs. John J. Wilson ■ Jay A. Winsten and Penelope J. Greene • Frank Wisneski •

Rhonda and Michael J. Zinner, M.D. • Anonymous (10)

MEMBERS $3,000 to 4,999

Mrs. Herbert Abrams ■ Barbara Adams • Bob and Pam Adams • Mr. James E. Aisner ■

Mr. and Mrs. Stephen Anthony • Mariann and Mortimer Appley • Marjorie Arons-Barron and

James H. Barron ■ Mr. and Mrs. Laurence Asquith • Dr. Lloyd Axelrod •

Sandy and David Bakalar • Mrs. Hope Lincoln Baker • Dr. and Mrs. Peter A. Banks •

John and Molly Beard • Deborah Davis Berman and William H. Berman •

Leonard and Jane Bernstein ■ Bob and Karen Bettacchi • Mr. and Mrs. Philip W. Bianchi •

Mr. and Mrs. Jordan Birger • Mrs. Stanton L. Black • Mr. and Mrs. Stephen P. Bradley •

Gertrude S. Brown • Drs. Andrea and Brad Buchbinder • Dr. Matthew Budd and

Ms. Rosalind Gorin • Mrs. Winifred B. Bush • Mr. and Mrs. Kevin T. Callaghan •

Mr. and Mrs. Dan Ciampa • Mr. and Mrs. Ronald C. Clark • Mr. and Mrs. Frederic M. Clifford ■

Mr. Stephen E. Coit • Mrs. I. W. Colburn ■ Loring and Katinka Coleman •

Dr. Charles L. Cooney and Ms. Peggy Reiser • Mrs. John L. Cooper • Mr. Ernest Cravalho and

Ms. Ruth Tuomala ■ Mr. and Mrs. William M. Crozier, Jr. • Joanna Inches Cunningham •

Robert and Sara Danziger ■ Drs. Anna L. and Peter B. Davol • Mr. John Deutch ■

Nina L. and Eugene B. Doggett • Robert Donaldson and Judith Ober ■ Mr. David L. Driscoll •

Mrs. Harriett M. Eckstein • Dr. and Mrs. Richard H. Egdahl ■ Mrs. Betty M. Ellis •

Mrs. Richard S. Emmet ■ Mr. Romeyn Everdell • Ziggy Ezekiel and Suzanne Courtright Ezekiel

Dr. and Mrs. Melvin D. Field • Mr. and Mrs. Reginald Foster • Robert C. and Velma Frank ■

Myrna H. and Eugene M. Freedman • Mr. Martin Gantshar • Mr. and Mrs. M. Dozier Gardner

WEEK 1 THE HIGGINSON SOCIETY ( 75

Philanthropic giving is always welcome, regardless of what form it takes.
Boston Private Bank & Trust Company's Donor Advised Fund is a simple and
flexible tool that makes charitable giving easier than ever. It enables you to set
aside funds and recommend grants to qualified nonprofit organizations according
to your interests and on your timetable, all while realizing a tax benefit. It is
just one of the ways we make the connections that count — connections to the
financial expertise you need, and a personal connection that goes far beyond the
sum of our transactions.

Boston Private Bank
Trust Company

Please contact Richard MacKinnon, Senior Vice President, at (617) 912-4287
or rmackinnon@bostonprivatebank.com

Investments are not FDIC insured, have no Bank guarantee, arc not a deposit, and may lose value.

Rose and Spyros Gavris • Arthur and Linda Gelb • Ms. Pamela Ormsbee Giroux •

Mr. and Mrs. Robert Glauber • Randy and Stephen Goldberger • Jordan and Sandy Golding •

Adele and Arnold Goldstein • Mr. and Mrs. Robert S. Green ■ Mr. and Mrs. Daniel S. Gregory •

The Rt. Rev. and Mrs. J. Clark Grew • David and Harriet Griesinger •

Mr. and Mrs. Graham Gund • The Hagan Family Fund • Margaret L. Hargrove •

Ellen and John Harris • Deborah Hauser • Dr. Edward Heller, Jr. ■ Mr. Gardner C. Hendrie and

Ms. Karen J. Johansen • Mrs. Nancy R. Herndon ■ Mr. James G. Hinkle and Mr. Roy Hammer •

Mr. Albert A. Holman III and Susan P. Stickells • Judith S. Howe ■ G. Lee and Diana Y. Humphrey •

Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Cerise and Charles Jacobs •

Ms. Joan B. Kennedy • Mrs. Thomas P. King • Mrs. Mary S. Kingsbery ■

Gordon and Mary Ford Kingsley • Mrs. Barbara Kirchheimer • Dr. Nancy Koehn •

Susan G. Kohn • Mrs. Diane Krane • Mr. Melvin Kutchin • Mr. and Mrs. Benjamin H. Lacy •

Mr. and Mrs. Robert A. Lawrence ■ Cynthia and Robert J. Lepofsky • Mr. and Mrs. Don LeSieur ■

Mr. and Mrs. Alexander M. Levine • Brenda G. Levy • Emily Lewis • Mrs. Augustus P. Loring t •

Mrs. Satoru Masamune • Marcia Marcus and J. Richard Klein • Dan Mathieu and Tom Potter •

Dr. and Mrs. John D. Matthews • Michael and Rosemary McElroy • Kurt and Therese Melden •

Mrs. Elliot Mishara ■ Robert and Jane Morse ■ Ms. Kristin A. Mortimer • Anne J. Neilson •

Ms. Cornelia G. Nichols • Mr. and Mrs. Rodger P. Nordblom ■ Richard and Kathleen Norman •

Mr. and Mrs. Geoffrey Nunes • Mr. and Mrs. Robert T O'Connell •

Mr. and Mrs. Gerald F. O'Neil • Mr. and Mrs. John A. Perkins • Drs. James and Ellen Perrin •

Ms. Margaret Philbrick and Mr. Gerald Sacks • Wendy C. Philbrick •

Mr. and Mrs. Nicholas J. Philopoulos • Ms. Joyce Plotkin and Bennett Aspel, M.D. •

Ms. Josephine Pomeroy • Elizabeth F. Potter and Joseph Bower • Ms. Helen C. Powell •

Professor Michael C. J. Putnam • Robert and Sally Quinn • James and Melinda Rabb •

Dr. Jane M. Rabb • Helen and Peter Randolph • Dr. Douglas Reeves • Mr. John S. Reidy •

Robert and Ruth Remis • Dr. and Mrs. George B. Reservitz • Howard and Sharon Rich •

Kennedy P. and Susan M. Richardson ■ Dr. Robin S. Richman and Dr. Bruce Auerbach •

Marcia A. Rizzotto • Judith and David Rosenthal • Dean and Mrs. Henry Rosovsky •

Mr. and Mrs. Thomas A. Rosse • William and Kathleen Rousseau • Arnold Roy •

Arlene and David T Rubin • Jordan S. Ruboy, M.D. • Stephen and Eileen Samuels •

Roger and Norma Saunders • Betty and Pieter Schiller • Mr. and Mrs. Marvin G. Schorr ■

David and Marie Louise Scudder • Robert E. Scully, M.D. • Ms. Carol P. Searle and

Mr. Andrew J. Ley • Mr. and Mrs. Joseph D. Spound • Mr. and Mrs. George R. Sprague •

Maximilian and Nancy Steinmann ■ Fredericka and Howard Stevenson •

Mr. and Mrs. Galen L. Stone • Mr. Henry S. Stone • Mrs. Carolyn H. Sullivan and

Mr. Patrick J. Sullivan • Mr. and Mrs. Joseph Swiniarski ■ Jeanne and John Talbourdet •

Richard S. Taylor • Mr. John L. Thorndike • Mr. and Mrs. Richard K. Thorndike III •

Mr. and Mrs. W. Nicholas Thorndike • Mr. and Mrs. Samuel Thorne •

Marian and Dick Thornton • Dr. Magdalena Tosteson • Diana O. Tottenham • Marc Ullman •

Herbert W. Vaughan • Mrs. Martha Hayes Voisin • Mr. and Mrs. Mark Volpe •

Eileen and Michael Walker ■ Nancy T Watts ■ Matt and Susan Weatherbie ■

Mrs. John W. White • Mrs. Mary Wilkinson-Greenberg • Rosalyn Kempton Wood •

Chip and Jean Wood • Dr. and Mrs. Nicholas T Zervas • Anonymous (10)

WEEK 1 THE HIGGINSON SOCIETY ( 77

BSO Major Corporate Sponsors

2010-11 Season

Boston Symphony Orchestra and Symphony Hall major corporate sponsorships reflect the increasing
importance of alliance between business and the arts. The BSO is honored to be associated with
the following companies and gratefully acknowledges their partnership. For information regarding
BSO, Boston Pops, and/or Tanglewood sponsorship opportunities, contact Alyson Bristol, Director
of Corporate Sponsorships, at (617) 638-9279 or at abristol@bso.org.

UBS

Stephen H. Brown

Managing Director
New England Region

UBS is proud to be the exclusive season sponsor of the Boston Symphony Orchestra.

The BSO demonstrates the highest level of musical excellence where musicians dis-
play an unsurpassed level of attention to detail and collaboration. This partnership
reflects our philosophy of working collaboratively with clients to deliver customized
solutions to help them pursue their financial goals.

As an extension of our eighth season as BSO Season Sponsor, UBS is underwriting
the BSO Academy's Musician and Teaching Artists program at the Thomas Edison
School in Brighton. This program will feature BSO and other musician school visits
throughout the year, Friday performances at the school, individual lessons and
ensemble coaching for the band, chorus, and other performance groups. Edison
School students will also have the opportunity to visit Symphony Hall for a Youth
Concert and High School Open Rehearsal.

UBS is pleased to play a role in creating a thriving and sustainable partnership
between professional musicians and the artists of the future. We believe music
education encourages a motivated, creative, and confident student body and is
a pathway to a better future. We are looking forward to an extraordinary season
at Symphony Hall and we hope you will continue to share the experience with your
friends and family.

Joe Tucci

Chairman, President,
and CEO

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where information lives*

Paul Tormey

Regional Vice President
and General Manager

COPLEY PLAZA

BOSTON

Dawson Rutter

President and CEO

OMMONWEALTH
WORLDWIDE

CHAUFFEURED TRANSPORTATION

WEEK 1 MAJOR CORPORATE SPONSORS

Next Program...

Thursday, October 14, 8pm
Friday, October 15, 1:30pm
Saturday, October 16, 8pm

JAMES LEVINE conducting

HARBISON

SYMPHONY NO. 3 (I99O)

Sconsolato—

Nostalgico—

Militante —

Appassionato —

Esuberante

MAHLER

{INTERMISSION}

SYMPHONY NO. 5
Parti

Funeral March: At a measured pace.

Strict. Like a cortege

Stormy, with utmost vehemence

Part II

Scherzo: Energetic, not too fast

Part III

Adagietto: Very slow

Rondo-Finale: Allegro giocoso. Lively

PRE-CONCERT TALKS BY BSO ASSISTANT DIRECTOR OF PROGRAM PUBLICATIONS ROBERT
KIRZINGER (OCTOBER 14 AND 16) AND DIRECTOR OF PROGRAM PUBLICATIONS MARC
MANDEL (OCTOBER 15).

Performances of Gustav Mahler's Symphony No. 5 continue James Levine and the BSO's Mahler
symphony cycle marking the 150th anniversary of the composer's birth and the 100th anniversary
of his death. Mahler composed the instrumental Fifth in the summers of 1901 and 1902. Exhibiting
a broadening of his musical language resulting from an intense study of the music of J.S. Bach, the
Fifth is famous for its beautiful Adagietto movement. Levine and the orchestra also begin a cycle of
symphonies, continuing this season and next, by the eminent American composer John Harbison.
Two of Harbison's five symphonies were commissioned by the BSO, and his Sixth, another BSO
commission, will be premiered next season. The Third, from 1991, is a vigorous five-movement work
vith Italianate sensibilities, including a musical allusion to a Genoese carillon.

Coming Concerts...

PRE-CONCERT TALKS: The BSO offers half-hour Pre-Concert Talks in Symphony Hall prior to all BSO
subscription-season concerts and Open Rehearsals, except for the new "Underscore Fridays" series (1/14;
2/11; 3/25), which incorporates commentary by the conductor. Free to all ticket holders, Pre-Concert Talks
begin at 6:45 p.m. before evening concerts, at 12:15 p.m. before Friday-afternoon concerts, at 9:30 a.m.
before Thursday-morning Open Rehearsals, and at 6:30 p.m. before Wednesday-night Open Rehearsals.

Thursday 'D' October 14, 8-10:15

Friday 'B' October 15, 1:30-3:45

Saturday 'A' October 16, 8-10:15

JAMES LEVINE, conductor

HARBISON Symphony No. 3

MAHLER

Symphony No. 5

Sunday, October 17, 3pm

Jordan Hall, New England Conservatory

BOSTON SYMPHONY CHAMBER PLAYERS

with ANDRE PREVIN, piano

MARTINU

PREVIN

MILHAUD

MOZART

Les Madrigaux for oboe, clarinet,

and bassoon

Octet for Eleven, for flute, oboe,

clarinet, bassoon, horn, trumpet,

two violins, viola, cello, and

double bass (world premiere;

BSO commission)

La Cheminee du Roi Rene, for .

wind quintet, Op. 205

Piano Quartet in G minor, K.478

Wednesday, October 20, 7:30pm (Open Rehearsal)
Thursday 'C October 21, 8-10:10

Friday 'A' October 22, 1:30-3:40

Saturday 'B' October 23, 8-10:10

Tuesday *C October 26, 8-10:10

MARCELO LEHNINGER, conductor
PINCHAS ZUKERMAN, violin

BARBER Overture to The School for Scandal

BEETHOVEN Violin Concerto

TCHAIKOVSKY Symphony No. 5

Thursday 'B'
Friday 'B'
Saturday 'B'
Tuesday 'B'

October 28, 8-10
October 29, 1:30-3:30
October 30, 8-10
November 2, 8-10

DAVID ROBERTSON, conductor
NICOLAS HODGES, piano

BRAHMS Tragic Overture

ADAMS Doctor Atomic Symphony

PROKOFIEV Piano Concerto No. 2

BARTOK Suite from The Miraculous Mandarin

Programs and artists subject to change.

massculturalcouncil.org

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the
Symphony Hall box office, online at bso.org, or by calling "Symphony Charge" at (617) 266-1200 or toll free
at (888) 266-1200, Monday through Friday from 10 a.m. until 6 p.m. (Saturday from 12 noon until 6 p.m.)
Please note that there is a $5.50 handling fee for each ticket ordered by phone or over the internet.

WEEK 1 COMING CONCERTS

Symphony Hall Exit Plan

MASSACHUSETTS AVENUE

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MASSACHUSETTS AVENUE

IN CASE OF EMERGENCY

Follow any lighted exit sign to street.
Do not use elevators.
Walk, do not run.

Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program
information, call "C-O-N-C-E-R-T" (266-2378).

The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the
Symphony Hall West Entrance on Huntington Avenue.

For Symphony Hall rental information, call (617) 638-9240, or write the Director of Event Services, Symphony
Hall, Boston, MA 02115.

To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash
are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then
send payment by check, call "SymphonyCharge" at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through
Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone T888-266-1200. As noted above, tickets
can also be purchased online. There is a handling fee of $5.50 for each ticket ordered by phone or online.

In consideration of our patrons and artists, children four years old or younger will not be admitted to Boston
Symphony Orchestra concerts.

WEEK 1 SYMPHONY HALL INFORMATION

available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible
contribution.

Please note that smoking is not permitted anywhere in Symphony Hall.

Camera and recording equipment may not be brought into Symphony Hall during concerts.

Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street.

First aid facilities for both men and women are available. On-call physicians attending concerts should leave their
names and seat locations at the Cohen Wing entrance on Huntington Avenue.

Parking: The Symphony Garage, Prudential Center Garage, and Copley Place Garage offer discounted parking
to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special
benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts.
For more information, call the Subscription Office at (617) 266-7575.

Elevators are located outside the Hatch and Cabot-Cahners rooms on the Massachusetts Avenue side of
Symphony Hall, and in the Cohen Wing.

Ladies' rooms are located on both main corridors of the orchestra level, as well as at both ends of the first bal-
cony, audience-left, and in the Cohen Wing.

Lounges and Bar Service: There are two lounges in Symphony Hall. The Hatch Room on the orchestra level and
the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For
the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time.-Drink
coupons may be purchased in advance online or through SymphonyCharge for all performances.

Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live
in the Boston area by 99.5 All-Classical.

BSO Friends: The Friends are donors who contribute $75 or more to the Boston Symphony Orchestra Annual Funds.
For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail friendsofthebsojxbso.org.
If you are already a Friend and you have changed your address, please inform us by sending your new and old
addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a
quick and accurate change of address in our files.

SYMP H«0 Ntf

ORCHESTRA

■

wKEnimM

The BSO is pleased to begin a program book re-use initiative as part of
the process of increasing its recycling and eco-friendly efforts. We are also
studying the best approaches for alternative and more efficient energy
systems to reduce our dependency on fossil fuels.

If you would like your program book to be re-used, please choose from
the following:

i) Return your unwanted clean program book to
an usher following the performance.

2) Leave your program book on your seat.

3) Return your clean program book to the program
holders located at the Massachusetts Avenue
and Huntington Avenue entrances.

Thank you for helping to make the BSO more green!

PHOTOGRAPHY: PETER VANDERWARKER

Dale Chihuly

Seaforms & Sealife

Boston International Fine Art Show
November 18-21 at the cyclorama

Schantz Galleries

CONTEMPORARY GLASS
3 Elm Street, Stockbridge, Massachusetts

SCHANTZGALLERIES-COM 413-298-3044

Soft Pink and White Seaform Sht, 2001 12 x 30 x 20" photo: tkrksa nouri risi

BOSTON
SYM PHONY
s ORCHESTRA

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jv«a^.«Cjt.v -j _:-w«*.-c«eC>c* _

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2010-2011 SEASON WEEK 2

fames Levine Music Director
Bernard Haitink Conductor Emeritus
Seiji Ozawa Music Director Laureate

HERMES

HERMES, LIFE AS ATALE

lypsiere " bogs

in taurillon Clemence.

320 Boylston Street
(617) 482-8707

Hermes.com

Table of Contents Week 2

15 BSO NEWS

23 ON DISPLAY IN SYMPHONY HALL

24 BSO MUSIC DIRECTOR JAMES LEVINE

26 THE BOSTON SYMPHONY ORCHESTRA

29 A BRIEF HISTORY OF SYMPHONY HALL

34 IN DEFENSE OF MAHLER'S MUSIC —

A 1925 LETTER FROM AARON COPLAND TO
THE EDITOR OF THE "NEW YORK TIMES"

37 THIS WEEK'S PROGRAM

39 FROM THE MUSIC DIRECTOR

Notes on the Program

45 John Harbison on his Symphonies

47 Harbison's Symphony No. 3

55 Gustav Mahler

69 To Read and Hear More...

74 SPONSORS AND DONORS

80 FUTURE PROGRAMS

82 SYMPHONY HALL EXIT PLAN

83 SYMPHONY HALL INFORMATION

THIS WEEK S PRE-CONCERT TALKS ARE GIVEN BY BSO DIRECTOR
OF PROGRAM PUBLICATIONS MARC MANDEL (OCTOBER 15)
AND ASSISTANT DIRECTOR OF PROGRAM PUBLICATIONS
ROBERT KIRZINGER (OCTOBER 14, l6).

program copyright ©2010 Boston Symphony Orchestra, Inc.
design by Hecht Design, Arlington, MA
cover photograph by Michael J. Lutch

BOSTON SYMPHONY ORCHESTRA
Symphony Hall, 301 Massachusetts Avenue
Boston, MA 02115-4511
(617) 266-1492 bso.org

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SERVING THE FINANCIAL DISTRICT SINCE 1933

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Medical Center

JAMES LEVINE, MUSIC DIRECTOR

RAY AND MARIA STATA MUSIC DIRECTORSHIP, FULLY FUNDED IN PERPETUITY

BERNARD HAITINK, CONDUCTOR EMERITUS

LACROIX FAMILY FUND, FULLY FUNDED IN PERPETUITY

SEIJI OZAWA, MUSIC DIRECTOR LAUREATE

130th season, 2010-2011

TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, INC.

Stephen B. Kay and Robert P. O'Block, Co-Chairmen • Edmund Kelly, Chairman-Elect •

Paul Buttenwieser, Vice-Chairman • Diddy Cullinane, Vice-Chairman • Roger T. Servison, Vice-Chairman

Stephen R. Weber, Vice-Chairman • Vincent M. O'Reilly, Treasurer

William F. Achtmeyer • George D. Behrakis • Alan Bressler ■ Jan Brett ■ Samuel B. Bruskin •

Eric D. Collins • Cynthia Curme ■ Alan J. Dworsky ■ William R. Elfers • Judy Moss Feingold, ex-officio •

Nancy J. Fitzpatrick • Michael Gordon • Brent L. Henry • Charles H. Jenkins, Jr. • Joyce G. Linde •

John M. Loder • Carmine A. Martignetti • Robert J. Mayer, M.D. • Nathan R. Miller •

Richard P. Morse • Aaron J. Nurick, ex-officio • Susan W. Paine • Carol Reich • Edward I. Rudman •

Arthur I. Segel • Thomas G. Sternberg • Theresa M. Stone • Caroline Taylor • Stephen R. Weiner •

Robert C. Winters

LIFE TRUSTEES

Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J. P. Barger • Leo L. Beranek •
Deborah Davis Berman • Peter A. Brooke • Helene R. Cahners • James F. Cleary • John F. Cogan, Jr. •
Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett ■ Mrs. John H. Fitzpatrick •
Dean W. Freed • Thelma E. Goldberg • Edna S. Kalman • George Krupp ■ Mrs. August R. Meyer •
Mrs. Robert B. Newman • William J. Poorvu ■ Irving W. Rabb ■ Peter C. Read • Richard A. Smith •
Ray Stata • John Hoyt Stookey • Wilmer J. Thomas, Jr. • John L. Thorndike • Dr. Nicholas T. Zervas

OTHER OFFICERS OF THE CORPORATION

Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer •
Suzanne Page, Clerk of the Board

BOARD OF OVERSEERS OF THE BOSTON SYMPHONY ORCHESTRA, INC.

Judy Moss Feingold, Chairman • Noubar Afeyan • David Altshuler ■ Diane M. Austin • Judith W. Barr
Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose •
Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne Burke ■ Ronald G. Casty •
Richard E. Cavanagh • Carol Feinberg Cohen • Susan Bredhoff Cohen ■ Richard F. Connolly, Jr. •
Charles L. Cooney • Ranny Cooper • James C. Curvey • Gene D. Dahmen • Jonathan G. Davis •
Paul F. Deninger ■ Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson ■
Ursula Ehret-Dichter • John P. Eustis II ■ Joseph F. Fallon • Thomas E. Faust, Jr. • Steven S. Fischman •
John F. Fish • Sanford Fisher • Robert Gallery ■ Robert P. Gittens • Carol Henderson ■
Stuart Hirshfield • Susan Hockfield • Roger Hunt • William W. Hunt ■ Valerie Hyman •
Ernest Jacquet • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. ■ Paul L. Joskow
Stephen R. Karp • Douglas A. Kingsley ■ Robert Kleinberg • John L. Klinck, Jr. • Farla H. Krentzman •
Peter E. Lacaillade ■ Charles Larkin • Robert J. Lepofsky • Nancy K. Lubin • Jay Marks ■
Jeffrey E. Marshall • C. Ann Merrifield • Dr. Martin C. Mihm, Jr. ■ Robert Mnookin •

WEEK 2 TRUSTEES AND OVERSEERS

THE JOURNEY TO THE

PRIVATE CLOUD

STARTS NOW

EMC is proud to support the Boston Symphony Orchestra.
Learn more atwww.EMC.com/bso.

EMC I

where information lives

M&W, #

photos by Michael J. Lutch

Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • J. Keith Motley, Ph.D. •

Cecile Higginson Murphy • Peter Palandjian • Vincent Panetta, Jr. • Joseph Patton • Ann M. Philbin ■

Wendy Philbrick • May H. Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Joyce L. Plotkin •

Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • John Reed •

Dr. Carmichael Roberts • Susan Rothenberg ■ Alan Rottenberg • Joseph D. Roxe • Kenan Sahin •

Donald L. Shapiro • Gilda Slifka • Christopher Smallhorn • Michael B. Sporn, M.D. •

Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson ■

Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein •

Christoph Westphal • James Westra • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug

OVERSEERS EMERITI

Helaine B. Allen ■ Marjorie Arons-Barron • Caroline Dwight Bain • Sandra Bakalar •

George W. Berry • William T. Burgin • Mrs. Levin H. Campbell ■ Earle M. Chiles •

Mrs. James C. Collias • Joan P. Curhan • Phyllis Curtin • Tamara P. Davis • Mrs. Miguel de Braganca •

Betsy P. Demirjian • JoAnne Walton Dickinson ■ Phyllis Dohanian • Harriett Eckstein ■ George Elvin ■

Pamela D. Everhart • J. Richard Fennell • Lawrence K. Fish • Myrna H. Freedman •

Peter H.B. Frelinghuysen • Mrs. Thomas Galligan, Jr. • Mrs. James Garivaltis ■ Dr. Arthur Gelb •

Jordan Golding • Mark R. Goldweitz • Michael Halperson • John Hamill ■ Deborah M. Hauser •

Mrs. Richard D. Hill • Marilyn Brachman Hoffman • Lola Jaffe • Michael Joyce ■ Martin S. Kaplan •

Mrs. S. Charles Kasdon • Mrs. Gordon F. Kingsley • David I. Kosowsky ■ Robert K. Kraft •

Benjamin H. Lacy ■ Mrs. William D. Larkin • Edwin N. London • Frederick H. Lovejoy, Jr. •

Diane H. Lupean • Mrs. Charles P. Lyman ■ Mrs. Harry L. Marks • Joseph B. Martin, M.D. •

Joseph C. McNay • Albert Merck • John A. Perkins • Dr. Tina Young Poussaint •

Daphne Brooks Prout • Patrick J. Purcell • Robert E. Remis • John Ex Rodgers • Roger A. Saunders •

Lynda Anne Schubert • Mrs. Carl Shapiro • L. Scott Singleton • Samuel Thorne • Paul M. Verrochi •

Robert A. Wells • Mrs. Joan D. Wheeler ■ Margaret Williams-DeCelles ■ Mrs. John J. Wilson •

Richard Wurtman, M.D.

EXECUTIVE COMMITTEE OF THE BOSTON SYMPHONY ASSOCIATION OF VOLUNTEERS

Aaron J. Nurick, Chair ■ Charles Jack, Vice-Chair, Boston • Wilma Michaels, Vice-Chair, Tanglewood •
Audley Fuller, Secretary • Richard Dixon, Co-Chair Education, Boston ■ Gerald Dreher, Co-Chair
Membership Administration, Boston • Ellen Mayo, Co-Chair Community Outreach and Audience
Development, Boston • Augusta Liebowitz, Co-Chair Education, Tanglewood • Alexandra Warshaw,
Co-Chair Membership Administration, Tanglewood • Howard Arkans, Co-Chair Community Outreach
and Audience Development, Tanglewood ■ William Ballen, Usher Liaison, Tanglewood • Ken Singer,
Glass House Liaison, Tanglewood

WEEK 2 TRUSTEES AND OVERSEERS

9 !■

endary.

HARVARD EXTENSION SCHOOL

Select courses:

• 1 2 foreign languages

• A History of Blues in America

• Velazquez and His Legacy

• Poetry and Fiction Writing

Museum Studies
Modern Drama
Milton and Paradise Lost
Shakespeare's Later Plays

www.extension.harvard.edu/arts

HARVARD UNIVERSITY EXTENSION SCHOO

Harvard University Extension School is proud to support the Boston Symphony Orchestra.

Administration

Mark Volpe, Managing Director, Eunice and Julian Cohen Managing Directorship, fully funded in perpetuity

Anthony Fogg, Artistic Administrator

Marion Gardner-Saxe, Director of Human Resources

Ellen Highstein, Director of Tanglewood Music Center, Tanglewood Music Center Directorship

endowed in honor of Edward H. Linde by Alan S. Bressler and Edward I. Rudman

Bernadette M. Horgan, Director of Public Relations

Thomas D. May, Chief Financial Officer

Kim Noltemy, Chief Marketing and Communications Officer

Bart Reidy, Director of Development— Institutional Giving, Events, and Administration

Elizabeth P. Roberts, Director of Development— Campaign and Individual Giving

Ray F. Wellbaum, Orchestra Manager

ADMINISTRATIVE STAFF/ARTISTIC

Bridget P. Carr, Senior Archivist ■ Felicia Burrey Elder, Executive Assistant to the Managing Director •
Vincenzo Natale, Chauffeur/Valet ■ Claudia Robaina, Manager of Artists Services • Benjamin Schwartz,
Assistant Artistic Administrator

ADMINISTRATIVE STAFF/PRODUCTION

Christopher W. Ruigomez, Director of Concert Operations

BOSTON POPS

Dennis Alves, Director of Artistic Planning

Gina Randall, Administrative/Operations Coordinator • Margo Saulnier, Assistant Director of Artistic
Planning • Amanda Severin, Manager of Artistic Services/Assistant to the Pops Conductor

BUSINESS OFFICE

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations
and Compliance • Pam Wells, Controller

WEEK 2 ADMINISTRATION

Join the Friends
of the BSO

Your Key to the Ultimate BSO Experience

Friends enjoy exclusive privileges, including:

• Access to BSO or Boston Pops Working Rehearsals

• Advance ticket ordering

• Opportunities for your entire family to interact with BSO artists

• Exclusive seasonal donor e-newsletter

Membership at every level is designed to deepen your experience with the BSO and bring you
closer to the music. The greater your support, the greater your behind-the-scenes experience
with the BSO and Symphony Hall and the greater your personal impact.

Please support the music you love by joining the Friends of the BSO today!

For even more exclusive access to BSO artists and behind-the-scenes events, please
consider joining the Higginson Society, an extraordinary group of like-minded individuals
dedicated to supporting the BSO.

To learn more, or to join, visit the information table in the lobby,
call 617-638-9276, or find us online at bso.org/contribute.

riends

OF THE

BOSTON SYMPHONY ORCHESTRA

1
fy> THE HIGGINSON SOCIETY

OF THE BOSTON SYMPHONY ORCHESTRA

DEVELOPMENT

Joseph Chart, Director of Major Gifts ■ Nina Jung, Director of Development Events and Volunteer Outreach •
Ryan Losey, Director of Foundation and Government Relations • Jennifer Roosa, Director of Development
Research and Information Systems • George Triantaris, Director of Principal and Planned Giving

Amanda Aldi, Data Project Coordinator • Stephanie Baker, Campaign Manager ■ Susan Beaudry,
Manager of Tanglewood Business Partners • Dulce Maria de Borbon, Beranek Room Hostess •
Cullen E. Bouvier, Donor Relations Officer • Maria Capello, Grant Writer • Diane Cataudella, Associate
Director of Donor Relations • Sabine Chouljian, Manager of Development Events and Volunteer Services •
Kerri Cleghorn, Associate Director, Business Partners • Allison Cooley, Associate Director of Society
Giving • Emily Diaz, Donor Information and Data Coordinator • Marcy Bouley Eckel, Associate Director
of Direct Fundraising • Laura Frye, Assistant Manager of Society Giving • David Grant, Development
Operations Manager ■ Susan Grosel, Director of Annual Funds ■ Barbara Hanson, Major Gifts Officer •
Sabrina Karpe, Donor Relations Coordinator • Pam Malumphy, Tanglewood Annual Giving Advisor ■
Dominic Margaglione, Donor Ticketing Associate • Jill Ng, Senior Major and Planned Giving Officer •
Suzanne Page, Associate Director for Board Relations • Emily Reeves, Assistant Manager of Planned
Giving • Amanda Roosevelt, Executive Assistant • Laura Sancken, Coordinator, Development Events
and Volunteer Services • Joyce M. Serwitz, Major Gifts and Campaign Advisor ■ Alexandria Sieja,
Assistant Manager of Development Events and Volunteer Services • Yong-Hee Silver, Major Gifts
Officer • Erin Simmons, Major Gifts Coordinator • Kenny Smith, Acknowledgment and Gift Processing
Coordinator • Stephanie J. Smith, Annual Fund Project Coordinator • Mary E. Thomson, Associate
Director of Corporate Giving • Szeman Tse, Assistant Director of Development Research •
Romain Tsiplakis, Graphic Designer

EDUCATION AND COMMUNITY PROGRAMS

Myran Parker-Brass, Director of Education and Community Programs

FACILITIES

C. Mark Cataudella, Director of Facilities

symphony hall operations Christopher Hayden, Facilities Manager • Tyrone Tyrell, Security and
Environmental Services Manager

Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Judith Melly, Facilities Coordinator •
Shawn Wilder, Mailroom Clerk

maintenance services Jim Boudreau, Electrician • Thomas Davenport, Carpenter ■ Michael Frazier,
Carpenter ■ Paul Giaimo, Electrician ■ Steven Harper, HVAC • Sandra Lemerise, Painter •
Michael Maher, HVAC environmental services Landel Milton, Lead Custodian • Rudolph Lewis,
Assistant Lead Custodian • Desmond Boland ■ Julien Buckmire • Claudia Ramirez Calmo •
Angelo Flores • Gaho Boniface Wahi

tanglewood operations Robert Lahart, Tanglewood Facilities Manager

Ronald T. Brouker, Grounds Supervisor • Maurice Garofoli, Electrician • Peter Socha, Buildings
Supervisor • Robert Casey • Stephen Curley • Richard Drumm • Bruce Huber

HUMAN RESOURCES

Susan Olson, Human Resources Recruiter • Heather Mullin, Human Resources Manager •
Kathleen Sambuco, Benefits Manager

WEEK 2 ADMINISTRATION

Arbella is committed to supporting charitable

organizations that work so hard to positively

impact the lives of those around them. We are
proud to be local and to help our neighbors,

individuals and families in our communities.

FOR GOOD

INFORMATION TECHNOLOGY

Timothy James, Director of Information Technology

PUBLIC RELATIONS

Kathleen Drohan, Associate Director of Public Relations ■ Samuel Brewer, Public Relations Assistant •
Taryn Lott, Public Relations Supervisor

PUBLICATIONS

Marc Mandel, Director of Program Publications

Robert Kirzinger, Assistant Director of Program Publications— Editorial • Eleanor Hayes McGourty,
Assistant Director of Program Publications— Production and Advertising

SALES, SUBSCRIPTION, AND MARKETING

Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales • Alyson Bristol,
Director of Corporate Sponsorships ■ Sid Guidicianne, Front of House Manager • James Jackson,
Call Center Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog,
Director of Marketing • Michael Miller, Director of Ticketing

Caitlin Bayer, Subscription Representative • Megan Bohrer, Group Sales Coordinator • Gretchen Borzi,
Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media •
Lenore Camassar, Associate Manager, SymphonyCharge • Theresa Condito, Access Services
Administrator/Subscriptions Associate • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle,
Junior Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House •
Erin Glennon, Senior Graphic Designer • Randie Harmon, Customer Service and Special Projects
Manager • Matthew P. Heck, Office and Social Media Manager • Michael King, Subscriptions Associate •
Michele Lubowsky, Associate Subscriptions Manager • Jason Lyon, Group Sales Manager •
Laura Maas, Merchandising Assistant • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil,
SymphonyCharge Representative • Michael Moore, E-Commerce Marketing Analyst • Allegra Murray,
Corporate Sponsorship Coordinator • Doreen Reis, Advertising and Events Manager • Andrew Russell,
Senior Manager, Corporate Sponsorships • Laura Schneider, Web Content Editor • Robert Sistare,
Subscriptions Representative • Kevin Toler, Art Director • Himanshu Vakil, Web Application Lead •
Stacy Whalen-Kelley, Manager, Corporate Sponsor Relations

box office David Chandler Winn, Manager ■ Megan E. Sullivan, Assistant Manager
box office representatives Mary J. Broussard • Arthur Ryan

event services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue
Rentals and Events Administration • Cesar Vilalon De Lima, Events Administrative Assistant

TANGLEWOOD MUSIC CENTER

Peter Grimm, Tanglewood Special Projects Manager • Andrew Leeson, Budget and Office Manager •
Karen Leopardi, Associate Director for Faculty and Guest Artists ■ Michael Nock, Associate Director
for Student Affairs ■ Gary Wallen, Manager of Production and Scheduling

WEEK 2 ADMINISTRATION ( 13

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&- BSO News

Boston Symphony Chamber Players
2010-2011 Season at Jordan Hall:
Four Sunday Afternoons at 3 p.m.

The Boston Symphony Chamber Players perform four Sunday-afternoon concerts each
season at Jordan Hall at the New England Conservatory, beginning this coming Sunday on
October 17 with a program including the world premiere of Andre Previn's Octet for Eleven,
commissioned by the BSO for the Boston Symphony Chamber Players, and featuring Mr.
Previn as pianist in Mozart's Piano Quartet in G minor, K.478. The season continues on
January 23 with music of Lowell Liebermann, Mozart's Quintet in E-flat for piano and winds,
K.452, and Stravinsky's complete Soldier's Tale with actors and narrator; April 3, with music
of Kurtag, Brahms's Horn Trio, Op. 40, and Schubert's Trout Quintet; and May 1, with an all-
French program of music by Dutilleux, Tomasi, Ravel, Debussy, and Francaix. Subscriptions
for the four-concert series are available at $128, $92, and $72. Single tickets are $37, $28,
and $21. To purchase the four-concert series, please call the Subscription Office at (617)
266-7575. Single tickets may be purchased through SymphonyCharge at (617) 266-1200,
at the Symphony Hall box office, or online at bso.org. On the day of the concert, tickets are
available only at the Jordan Hall box office, 30 Gainsborough Street.

"BSO ioi: Are You Listening?"

A New Free Adult Education Series

Join BSO Director of Program Publications Marc Mandel at Symphony Hall for a series of
four informal sessions designed to enhance your listening ability while focusing on selected
music to be performed by the BSO. Each session— all on Wednesdays from 5:30-6:45 p.m.,
and free to anyone interested— will be followed by a reception offering beverages, hors
d'oeuvres, and further time to share your thoughts with all involved. After an initial, intro-
ductory session on classic works by Brahms, Mozart, and Haydn (October 27), the remaining
sessions will focus on "Schumann as Innovator," anticipating the BSO's complete Schumann
symphony cycle to be performed in late November/early December (November 10); illus-
trative music by Delius, Strauss, Scriabin, and Dvorak (January 12), and the contrasting
musical vocabularies of Liszt, Sibelius, Ravel, and Berlioz (March 30). A listing of the specific
music to be discussed will be posted on bso.org at least three to four weeks in advance of
each session. No prior training is required, but please e-mail customerservice@bso.org to
reserve your place for the date or dates you are planning to attend.

Also New This Year:

Free Digital Music Seminars

Baffled by digital music? The BSO is offering free digital music seminars, free to ticket hold-
ers, prior to selected subscription concerts this season. Each seminar will last about 35

WEEK 2 BSO NEWS 15

Pre-Concert Talks

The BSO offers half-hour Pre-Concert Talks in Symphony Hall prior to all BSO subscription
concerts and Open Rehearsals, except for the new "Underscore Fridays" series (1/14; 2/11;
3/25), which incorporates commentary by the conductors. Free to all ticket holders, Pre-
Concert Talks begin at 6:45 p.m. before evening concerts, at 12:15 p.m. before Friday-after-
noon concerts, at 9:30 a.m. before Thursday-morning Open Rehearsals, and at 6:30 p.m.
before Wednesday-night Open Rehearsals. Given by a variety of distinguished speakers
from Boston's musical community, these informative half-hour talks include recorded
examples from the music being performed. This week's talks on John Harbison's Symphony
No. 3 and Mahler's Symphony No. 5 are given by BSO Assistant Director of Program Publi-
cations Robert Kirzinger (October 14, 16) and Director of Program Publications Marc Mandel
(October 15). In the weeks ahead, Marc Mandel (October 20 Open Rehearsal; October 22)
and Boston University-based conductor Amy Lieberman (October 21, 23, 26) discuss Barber,
Beethoven, and Tchaikovsky, and Robert Kirzinger discusses Brahms, John Adams, Prokofiev,
and Bartok (October 28-November 2).

Introducing "Underscore Fridays"

This year the BSO offers an exciting, new, three-concert subscription option with a brand-
new format— "Underscore Fridays." These concerts incorporate commentary from the
conductor, and all have an early start-time of 7 p.m., allowing attendees to socialize after
the performance. The Symphony Hall bars will remain open, and subscribers to the series
may attend a complimentary post-concert reception where they will be able to meet the
artists. The dates are January 14 (music of Delius, Mozart, and Strauss, with conductor Sir
Mark Elder and pianist Lars Vogt), February 11 (music of Haydn, Sibelius, and Korean com-
poser Unsuk Chin, whose Cello Concerto will have its American premiere, with conductor
Susanna Malkki and cellist Alban Gerhardt), and March 25 (music of Tchaikovsky, Sibelius,
and English composer Thomas Ades, who also conducts, with violinist Anthony Marwood
and vocal soloists Hila Plitmann, Kate Royal, Toby Spence, and Christopher Maltman).
Tickets for the three-concert series range in price from $90 to $336. For more information,
call the BSO Subscription Office at (617) 266-7575 or 1-888-266-7575, or visit bso.org.

Upcoming "Symphony+" Events

Expand Your Musical Horizons:
Become a Friend of the BSO

and get a sneak preview of upcoming Friends
events, please contact the Friends Office at
(617) 638-9276 or friendsofthebso@bso.org.
If you're already a Friend and you're not
receiving your issue of InTune, please let us
know at intune@bso.org.

Support the Businesses That

Support the BSO:

The Fairmont Copley Plaza Hotel

Did you know that there are more than 400
businesses and corporations that support the
BSO? Whether as Major Corporate Sponsors',
Boston or Tanglewood Business Partners,
Corporate Foundations, or supporters of "A
Company Christmas at Pops" and "Presidents
at Pops," our corporate partners play a vital

WEEK 2 BSO NEWS

^^9

. .. ■ . * .. .

— u

1 1

* "V

THE SOUL. STIRRED.

World-class music complemented by elegant pre-concert and post-performance dining.
Boston Gourmet takes your night at the orchestra to new heights.

BOSTON/GOURMET

GOUR-

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2LI :0R THE B05

role in helping us sustain our mission. You can
lend your support to the BSO, Boston Pops,
and Tanglewood by supporting the companies
who support us. The BSO Corporate Partner
of the Month for October is The Fairmont
Copley Plaza Hotel. Located less than a mile
from Symphony Hall, The Fairmont Copley
Plaza is the "home away from home" for
many BSO and Pops guest artists and con-
ductors. The Fairmont Copley Plaza, along
with its parent company Fairmont Hotels and
Resorts, is a Great Benefactor of the BSO
with more than twenty years as a corporate
partner, and has been the Official Hotel of
the BSO and Pops since 2002. Fairmont also
supports the Boston Business Partners and
both "A Company Christmas at Pops" and
"Presidents at Pops." The hotel has been a
symbol of Boston's rich history and elegance
since its gala opening in 1912. From business
and leisure travel to meetings to social
events and weddings, The Fairmont Copley
Plaza strives to orchestrate an exceptional
experience and lasting memories for all of its
visitors. The Oak Room is the property's
regal, comfortably elegant restaurant serving
breakfast, lunch, and dinner. The Fairmont
Copley Plaza also features suites themed
around both the BSO and Pops, featuring
music, artwork, and memorabilia designed to
ensure a melodic stay. For more information,
or to book your next visit, go to fairmont.com/
copleyplaza.

BSO Business Partners:
Instrumental to the BSO

exclusive benefits that promote corporate
recognition, such as named concerts and pro-
gram listings, special events that advance
business networking, and behind-the-scenes
tours and VIP ticketing assistance. Among
their clients, employees, and the greater
community, BSO Business Partners are
applauded for supporting the Boston Sym-
phony Orchestra. For more information about
becoming a BSO Business Partner, contact
Kerri Cleghorn, Associate Director, Business
Partners, at kcleghorn@bso.org or (617)
638-9277.

BSO Members in Concert

Ronald Knudsen leads the New Philharmonia
Orchestra in its first "Family Connections"
concert of the 2010-11 season on Sunday,
October 24, at 3 p.m. at the First Baptist
Church, 848 Beacon Street, Newton Centre.
Entitled "Musical Wizards," the program
includes Dukas's The Sorcerer's Apprentice
and the New Phil percussion section's "March
of the Costumes." Tickets are $15, with dis-
counts for seniors, students, and families.
For more information, or to order tickets, call
(617) 527-9717 or visit newphil.org.

The Walden Chamber Players, whose mem-
bership includes BSO musicians Tatiana
Dimitriades and Alexander Velinzon, violins,
Thomas Martin, clarinet, and Richard Ranti,
bassoon, perform Boccherini's La musica not-
turna delle strode di Madrid (The night music
of Madrid), Turina's Oracion del Torero, for
string quintet, and Dvorak's String Quartet
No. 12 in F, Opus 96, American (with cellist
Sasha Scolnik-Brower, winner of the 2010
Walden Chamber Players Young Artist Com-
petition), on Sunday, October 24, at 4 p.m. at
Wilson Chapel, Andover Newton Theological
School, 210 Herrick Road, Newton Centre.
Tickets are $15 adults, $5 students; children
under twelve admitted free of charge. To
reserve tickets, call (617) 744-0452.

WEEK 2 BSO NEWS

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Brahms's Sextet in G, Opus 36, are BSO/NEC
colleagues Glen Cherry and Julianne Lee,
violins, and Blaise Dejardin, cello, as well as
NEC faculty violist Dimitri Murrath and cellist
Paul Katz. BSO bassists James Orleans, Todd
Seeber, and Lawrence Wolfe, joined by Donald
Palma, perform Gunther Schuller's Quartet
for Double Basses (1947) in honor of the
85th birthday of the composer, who is also
a former NEC President. Also on the program
is Beethoven's Trio in G, Opus 1, No. 2, per-
formed by the Boston Trio (Heng-Jin Park,
piano, Irina Muresanu, violin, and Allison
Eldredge, cello). Admission is free.

Founded by BSO cellist Jonathan Miller, the
Boston Artists Ensemble opens its 2010-11
season with Ravel's Piano Trio and Schubert's
Piano Trio in E-flat, D. 929, on Friday, Novem-
ber 5, at the Peabody Essex Museum in Salem,
and on Sunday, November 7, at Trinity Church
in Newton Centre. Joining Mr. Miller are vio-
linist Sharan Leventhal and pianist Randall
Hodgkinson. Tickets are $24, with discounts
for seniors and students. For more informa-
tion, visit bostonartistsensemble.org or call
(617) 964-6553,

Collage New Music, founded by BSO percus-
sionist Frank Epstein, opens its 2010-11 season
on Monday, November 15, at 8 p.m. in Pick-
man Hall at the Longy School of Music in
Cambridge under the direction of David
Hoose. The program includes Fred Lerdahl's
Imbrications, Donald Wheelock's Music for
Seven Players, Andy Vores's Often, Lerdahl's
Duo for Violin and Piano, and Stephen Hartke's
Meanwhile. General admission tickets are $15
(free for students), available at the door or by
calling (617) 325-5200. For more information,
visit collagenewmusic.org.

Symphony Hall Tours

Comings and Goings...

WEEK 2 BSO NEWS

THIS MONTH

at the

Gardner

World Class Concerts in an Intimate Setting

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Sunday Concert Series • Sundays at 1:30PM

OCTOBER 17

Paavali Jumppanen, piano

The Complete Mozart Piano Sonatas, Parti

OCTOBER 24

Musicians from Marlboro

Respighi, Mozart, Dvorak, Cuckson

OCTOBER 31

Charlie Albright, piano

Young Artists Showcase— First Prize Winner,

2009 Young Concert Artists International Auditions
Schumann, Jandcek, Menotti

NOVEMBER 7
Imani Winds

Mendelssohn, Nielsen, Carter, Piazzolla, and more

• Concerts every Sunday at 1:30pm
Cafe open 11am-4pm
• Tickets online, by phone, or at the door
• Full schedule and FREE podcast at gardnermuseum.org

isabelia
stwart Gardner

MUSEUM

280 THE FENWAY BOX OFFICE 617 278 5156
WWW.GARDNERMUSEUM.ORG

Text from 50ren Kierkegaard

To ihe memory of Serge and Natalie Koiv^eviizKy

* PRAYERS of KIERKEGAARD

Samuel Barber, oF 30

O TKou vtno ferl un - change-

I 5 A ' '

Mir : : - - - - " • til Q '*' : :- -j- '

o+ rest in thee im.* cKanq- tr»q. Thou or* moved ond moved m m.fi.

ON DISPLAY IN SYMPHONY HALL

HIGHLIGHTS OF THIS YEAR'S EXHIBIT INCLUDE, ON THE ORCHESTRA LEVEL OF
SYMPHONY HALL:

• a display case devoted to former BSO flutist James Pappoutsakis (orchestra member,
1937-1978) highlighting his background, career, and legacy, and displaying for the first
time memorabilia donated to the BSO Archives by Mrs. Pappoutsakis in 1995; and

• a display case devoted to the bassoonists of the Boston Symphony Orchestra.

EXHIBITS ON THE FIRST-BALCONY LEVEL OF SYMPHONY HALL INCLUDE:

• a 75th-birthday tribute to Seiji Ozawa, the BSO's music director from 1973 to 2002
(outside the Cabot-Cahners Room, first-balcony right);

• a look at architectural and decorative details of Symphony Hall (first-balcony left).

TOP OF PAGE, LEFT TO RIGHT:

Erich Leinsdorf and Joseph Silverstein during the 1962-1963 season, Silverstein's first as BSO concertmaster
and Leinsdorf 's first as music director (photograph by Boris and Milton)

Detail from the score of Samuel Barber's "Prayers of Kierkegaard" used by Charles Munch for the December
1954 world premiere at Symphony Hall, with Munch's markings (BSO Archives)

Charles Munch disembarking from an Air France flight, c.1956 (BSO Archives)

WEEK 2 ON DISPLAY 23

James Levine

Now in his seventh season as music director of the Boston Symphony Orchestra, James
Levine is the BSO's 14th music director since the orchestra's founding in 1881 and the
first American-born conductor to hold that position. Highlights of his 2010-11 BSO season
at Symphony Hall include an Opening Night all-Wagner program with bass-baritone Bryn
Terfel; Mahler's Second (Resurrection), Fifth, and Ninth symphonies, continuing a Mahler
symphony cycle marking the 150th anniversary of the composer's birth and the 100th
of his death; John Harbison's First, Second, and Third symphonies, initiating a Harbison
symphony cycle to be completed in 2011-12 with the world premiere of Harbison's BSO-
commissioned Sixth Symphony; a program pairing Stravinsky's oratorio Oedipus Rex with
Bartok's opera Bluebeard's Castle; Schumann's Second and Third symphonies, marking
the 200th anniversary of the composer's birth; and concerto collaborations with violinist
Christian Tetzlaff (including the world premiere of Harrison Birtwistle's BSO-commissioned
Violin Concerto) and pianist Maurizio Pollini. He will also conduct three concerts with
the orchestra at Carnegie Hall, as well as performances at the New Jersey Performing
Arts Center and the Kennedy Center in Washington, D.C.

WEEK 2 JAMES LEVINE

ff=^S "=^-J

Boston Symphony Orchestra

2010-2011

JAMES LEVINE

Music Director
Ray and Maria Stata Music
Directorship, fully funded
in perpetuity

BERNARD HAITINK

Conductor Emeritus
LaCroix Family Fund,
fully funded in perpetuity

SEIJI OZAWA

Music Director Laureate

FIRST VIOLINS

Malcolm Lowe

Concertmaster
Charles Munch chair,
fully funded in perpetuity

Tamara Smirnova
Associate Concertmaster
Helen Horner Mclntyre chair,
endowed in perpetuity in 1976

Alexander Velinzon

Assistant Concertmaster
Robert L. Seal, Enid L, and
Bruce A. Seal chair, endowed
in perpetuity in 1980

Elita Kang

Assistant Concertmaster
Edward and Bertha C Rose chair

Bo Youp Hwang

John and Dorothy Wilson chair,
fully funded in perpetuity

Lucia Lin

Dorothy Q. and David B. Arnold, Jr.,
chair, fully funded in perpetuity

Ikuko Mizuno§

Muriel C Kasdon and Marjorie C.
Paley chair

Nancy Bracken*

Ruth and Carl J. Shapiro chair,
fully funded in perpetuity

Aza Raykhtsaum*

Theodore W. and Evelyn
Berenson Family chair

Bonnie Bewick*

Stephanie Morris Marryott and
Franklin J. Marryott chair

James Cooke*

Catherine and Paul Buttenwieser
chair

Victor Romanul*

Bessie Pappas chair

Catherine French*

Mary B. Saltonstall chair, fully
funded in perpetuity

Jason Horowitz*

Kristin and Roger Servison chair

Julianne Lee*

Donald C and Ruth Brooks Heath
chair, fully funded in perpetuity

SECOND VIOLINS

Haldan Martinson

Principal

Carl Schoenhof Family chair,

fully funded in perpetuity

Vyacheslav Uritsky

Assistant Principal

Charlotte and Irving W. Rabb chair,

endowed in perpetuity in 1977

Sheila Fiekowsky

Shirley and J. Richard Fennell
chair, fully funded in perpetuity

Ronald Knudsen

David H. and Edith C. Howie
chair, fully funded in perpetuity

Ronan Lefkowitz

Jennie Shames*

Valeria Vilker Kuchment*

Tatiana Dimitriades*

Si-Jing Huang*

Nicole Monahan*

Wendy Putnam*

Robert Bradford Newman chair,
fully funded in perpetuity

Xin Ding*

Glen Cherry*

Yuncong Zhang*

VIOLAS

Steven Ansell

Principal

Charles S. Dana chair, endowed

in perpetuity in 1970

Cathy Basrak

Assistant Principal
Anne Stoneman chair, fully
funded in perpetuity

Edward Gazouleas

Lois and Harlan Anderson chair,
fully funded in perpetuity

Robert Barnes

Michael Zaretsky

Marc Jeanneret

Mark Ludwig*

Rachel Fagerburg*

Kazuko Matsusaka*5

Rebecca Gitter*

CELLOS

Jules Eskin

Principal

Philip R. Allen chair, endowed in

perpetuity in 7969

Martha Babcock

Assistant Principal

Vernon and Marion Alden chair,

endowed in perpetuity in 1977

Sato Knudsen

Mischa Nieland chair, fully
funded in perpetuity

Mihail Jojatu

Sandra and David Bakalar chair

Jonathan Miller*

Charles and JoAnne Dickinson
chair

Owen Young*

John F. Cogan, Jr., and Mary L.
Cornille chair, fully funded in
perpetuity

Andrew Pearce*

Stephen and Dorothy Weber
chair, fully funded in perpetuity

Mickey Katz*

Richard C and Ellen E. Paine
chair, fully funded in perpetuity

Alexandre Lecarme*

Adam Esbensen*

Blaise Dejardin*

BASSES

Edwin Barker

Principal

Harold D. Hodgkinson chair,

endowed in perpetuity in 1974

Lawrence Wolfe

Assistant Principal

Maria Nistazos Stata chair, fully

funded in perpetuity

Benjamin Levy

Leith Family chair, fully funded
in perpetuity

Dennis Roy

Joseph and Jan Brett Hearne
chair

Joseph Hearne

James Orleans*

Todd Seeber*

Eleanor L and Levin H. Campbell
chair, fully funded in perpetuity

JohnStovall*

FLUTES

Elizabeth Rowe

Principal

Walter Piston chair, endowed

in perpetuity in 1970

(position vacant)

Myra and Robert Kraft chair,
endowed in perpetuity in 1981

Elizabeth Ostling

Associate Principal
Marian Gray Lewis chair, fully
funded in perpetuity

photos by Michael J. Lutch

PICCOLO

Cynthia Meyers

Evelyn and C. Charles Marran
chair, endowed in perpetuity in
1979

OBOES

John Ferrillo

Principal

Mildred B. Remis chair, endowed
in perpetuity in 1975

Mark McEwen

James and Tina Collias chair

Keisuke Wakao

Assistant Principal

Farla and Harvey Chet Krentzman

chair, fully funded in perpetuity

ENGLISH HORN

Robert Sheena

Beranek chair, fully funded in
perpetuity

CLARINETS

William R. Hudgins

Principal

Ann S.M. Banks chair, endowed
in perpetuity in 1977

Michael Wayne

Thomas Martin

Associate Principal &

E-flat clarinet

Stanton W. and Elisabeth K.

Davis chair, fully funded in

perpetuity

BASS CLARINET

Craig Nordstrom

BASSOONS

Richard Svoboda

Principal

Edward A. Taft chair, endowed in

perpetuity in 1974

Suzanne Nelsen

John D. and Vera M. MacDonald
chair

Richard Ranti

Associate Principal
Diana Osgood Tottenham/
Hamilton Osgood chair, fully
funded in perpetuity

CONTRABASSOON

Gregg Henegar

Helen Rand Thayer chair

HORNS

James Sommerville

Principal

Helen Sagoff Slosberg/Edna S.
Kalman chair, endowed in
perpetuity in 1974

Richard Sebring

Associate Principal
Margaret Andersen Congleton
chair, fully funded in perpetuity

(position vacant)

Elizabeth B. Storer chair, fully
funded in perpetuity

(position vacant)

John P. II and Nancy S. Eustis
chair, fully funded in perpetuity

Jason Snider

Gordon and Mary Ford Kingsley
Family chair

Jonathan Menkis

Jean-Noel and Mona N. Tariot
chair

TRUMPETS

Thomas Rolfs

Principal

Roger Louis Voisin chair, endowed

in perpetuity in 1977

Benjamin Wright

Arthur and Linda Gelb chair

Thomas Siders

Assistant Principal
Kathryn H. and Edward M.
Lupean chair

(position vacant)

Ford H. Cooper chair, endowed
in perpetuity in 1984

TROMBONES

Toby Oft

Principal

J. P. and Mary B. Barger chair,
fully funded in perpetuity

Stephen Lange

BASS TROMBONE

Douglas Yeo

John Moors Cabot chair, fully
funded in perpetuity

TUBA

Mike Roylance

Principal

Margaret and William C

Rousseau chair, fully funded in

perpetuity

TIMPANI

Timothy Genis

Sylvia Shippen Wells chair,
endowed in perpetuity in 1974

PERCUSSION

Frank Epstein

Peter and Anne Brooke chair,
fully funded in perpetuity

J. William Hudgins

Peter Andrew Lurie chair, fully
funded in perpetuity

W. Lee Vinson

Barbara Lee chair

Daniel Bauch

Assistant Timpanist

Mr. and Mrs. Edward H. Linde

chair

HARP

Jessica Zhou

Nicholas and Thalia Zervas chair,
fully funded in perpetuity by
Sophia and Bernard Gordon

VOICE AND CHORUS

John Oliver

Tanglewood Festival Chorus

Conductor

Alan J. and Suzanne W. Dworsky

chair, fully funded in perpetuity

LIBRARIANS

Marshall Burlingame

Principal

Lia and William Poorvu chair,
fully funded in perpetuity

William Shisler

John Perkel

ASSISTANT
CONDUCTORS

Marcelo Lehninger

Anna E. Finnerty chair, fully
funded in perpetuity

Sean Newhouse

PERSONNEL
MANAGERS

Lynn G. Larsen

Bruce M. Creditor
Timothy Tsukamoto

Assistant Personnel Managers

STAGE MANAGER

John Demick

* participating in a system
of rotated seating

§ on sabbatical leave

WEEK 2 BOSTON SYMPHONY ORCHESTRA

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A Brief History
of Symphony Hall

The first home of the Boston Symphony Orchestra was the old Boston Music Hall, which
stood downtown where the Orpheum Theatre now stands, held about 2,400 seats, and
was threatened in 1893 by the city's road-building/rapid transit project. That summer,
the BSO's founder, Major Henry Lee Higginson, organized a corporation to finance a new
and permanent home for the orchestra. On October 15, 1900— some seven years and
$750,000 later— the new hall was opened. The inaugural gala concluded with a performance
of Beethoven's Missa Solemnis under the direction of then music director Wilhelm Gericke.

At Higginson's insistence, the architects— McKim, Mead & White of New York— engaged
Wallace Clement Sabine, a young assistant professor of physics at Harvard, as their
acoustical consultant, and Symphony Hall became the first auditorium designed in accor-
dance with scientifically-derived acoustical principles. It is now ranked as one of the three
best concert halls in the world, along with Amsterdam's Concertgebouw and Vienna's
Musikverein. Bruno Walter called it "the most noble of American concert halls," and
Herbert von Karajan, comparing it to the Musikverein, noted that "for much music, it is
even better. . . because of the slightly lower reverberation time."

Symphony Hall is 61 feet high, 75 feet wide, and 125 feet long from the lower back wall
to the front of the stage. The walls of the stage slope inward to help focus the sound. The
side balconies are shallow so as not to trap any of the sound, and though the rear bal-
conies are deeper, sound is properly reflected from the back walls. The recesses of the
coffered ceiling help distribute the sound throughout the hall, as do the statue-filled nich-
es along the three sides. The auditorium itself is centered within the building, with corri-
dors and offices insulating it from noise outside. The leather seats are the ones installed
for the hall's opening in 1900. With the exception of the wood floors, the hall is built of
brick, steel, and plaster, with only a moderate amount of decoration, the original, more
ornate plans for the building's exterior having been much simplified as a cost-reducing -
measure. But as architecture critic Robert Campbell has observed, upon penetrating the
"outer carton" one discovers "the gift within— the lovely ornamented interior, with its deli-
cate play of grays, its statues, its hint of giltwork, and, at concert time, its sculptural glitter
of instruments on stage."

BSO conductor Wilhelm Gericke, who led the Symphony Holl inaugural concert

WEEK 2 A BRIEF HISTORY OF SYMPHONY HALL ( 29

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Architect's watercolor rendering of Symphony Hall
prior to its construction

Symphony Hall was designed so that the rows of seats could be replaced by tables for
Pops concerts. For BSO concerts, the hall seats 2,625. For Pops concerts, the capacity
is 2,371, including 241 small tables on the main floor. To accommodate this flexible sys-
tem—an innovation in 1900— an elevator, still in use, was built into the Symphony Hall
floor. Once a year the five Symphony Hall chandeliers are lowered to the floor and all
394 lightbulbs are changed. The sixteen replicas of Greek and Roman statues— ten of
mythical subjects, six of actual historical figures— are related to music, art, and literature.
The statues were donated by a committee of 200 Symphony-goers and cast by P.P.
Caproni and Brother, Boston, makers of plaster reproductions for public buildings and art
schools. They were not ready for the opening concert, but appeared one by one during
the first two seasons.

The Symphony Hall organ, an Aeolian-Skinner designed by G. Donald Harrison and
installed in 1949, is considered one of the finest concert hall organs in the world. The
console was autographed by Albert Schweitzer, who expressed his best wishes for the
organ's tone. There are more than 4,800 pipes, ranging in size from 32 feet to less than
six inches and located behind the organ pipe facade visible to the audience. The organ
was commissioned to honor two milestones in 1950: the fiftieth anniversary of the hall's
opening, and the 200th anniversary of the death of Johann Sebastian Bach. The 2004-
2005 season brought the return to use of the Symphony Hall organ following a two-year
renovation process by the firm of Foley-Baker, Inc., based in Tolland, CT.

Two radio booths used for the taping and broadcasting of concerts overlook the stage at
audience-left. For recording sessions, equipment is installed in an area of the basement.
The hall was completely air-conditioned during the summer of 1973, and in 1975 a six-
passenger elevator was installed in the Massachusetts Avenue stairwell. The Massachu-
setts Avenue lobby and box office were completely renovated in 2005.

Symphony Hall has been the scene of more than 250 world premieres, including major
works by Samuel Barber, Bela Bartok, Elliott Carter, Aaron Copland, Henri Dutilleux,
George Gershwin, Sofia Gubaidulina, John Harbison, Walter Piston, Sergei Prokofiev, '
Roger Sessions, Igor Stravinsky, Michael Tippett, John Williams, and Ellen Taaffe Zwilich.
For many years the biggest civic building in Boston, it has also been used for many pur-
poses other than concerts, among them the First Annual Automobile Show of the Boston
Automobile Dealers' Association (1903), the Boston premiere of Cecil B. De Mille's film

WEEK 2 A BRIEF HISTORY OF SYMPHONY HALL ( 31

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From 1906

version of Carmen starring Geraldine Farrar (1915), the Boston Shoe Style Show (1919),
a debate on American participation in the League of Nations (1919), a lecture/demonstra-
tion by Harry Houdini debunking spiritualism (1925), a spelling bee sponsored by the
Boston Herald (1935), Communist Party meetings (1938-40; 1945), Jordan Marsh-spon-
sored fashion shows "dedicated to the working woman" (1940s), and all the inaugura-
tions of former longtime Boston mayor James Michael Curley.

A couple of interesting points for observant concertgoers: The plaques on the prosceni-
um arch were meant to be inscribed with the names of great composers, but the hall's
original directors were able to agree unanimously only on Beethoven, so his remains the
only name above the stage. The ornamental initials "BMH" in the staircase railings on the
Huntington Avenue side (originally the main entrance) reflect the original idea to name
the building Boston Music Hall, but the old Boston Music Hall, where the BSO had per-
formed since its founding in 1881, was not demolished as planned, and a decision on a
substitute name was not reached until Symphony Hall's opening.

In 1999, Symphony Hall was designated and registered by the United States Department
of the Interior as a National Historic Landmark, a distinction marked in a special ceremony
at the start of the 2000-01 season. In 2000-01, the Boston Symphony Orchestra marked
the centennial of its home, renewing Symphony Hall's role as a crucible for new music
activity, as a civic resource, and as a place of public gathering. The programming and cel-
ebratory events included world premieres of works commissioned by the BSO, the first
steps of a new master plan to strengthen Symphony Hall's public presence, and the
launching of an initiative to extend the sights and sounds of Symphony Hall via the inter-
net. Recent renovations have included new electrical, lighting, and fire safety systems;
an expanded main lobby with a new marble floor; and, in 2006, a new hardwood stage
floor matching the specifications of the original. For the start of the 2008-09 season,
Symphony Hall's clerestory windows (the semi-circular windows in the upper side walls
of the auditorium) were reopened, allowing natural light into the auditorium for the first
time since the 1940s. Now more than a century old, Symphony Hall continues to serve
the purpose for which it was built, fostering the presence of music familiar and unfamiliar,
old and new— a mission the BSO continues to carry forward into the world of tomorrow.

WEEK 2 A BRIEF HISTORY OF SYMPHONY HALL

FIFTY-FIRST SEASON, NINETEEN HUNDRED THIRTY-ONE AND THIRTY-TWO

Second Programme

FRIDAY AFTERNOON, OCTOBER 16, at 2.30 o'clock

SATURDAY EVENING, OCTOBER 17, at 8.15 o'clock

Mahler

I. AncUntc comodo.
II. Im Tempo cities Gemachlichen Landlcrs.

III. Rondo; Burleske.

IV. Adagio.

(First time in the United States)

Symphony No. 9

Wagner

"A Siegfried Idyl"

Wagner

Overture to 'Tannhauser"

There will be an intermission after the symphony.

The works to be played at these concerts may be seen in the Allen A. Brown Musk
Collection of the Boston Public Library one week before the concert

In Defense of
Mahler's Music

A Letter from Aaron Copland

to the Editor of the "New York Times"

Reprinted from the Boston Symphony Orchestra program of October 16 and 17, 1931— the program book
for the United States premiere of Mahler's Ninth Symphony under the baton of Serge Koussevitzky—
this letter from Aaron Copland to the "New York Times," dated April 2, 1925, reflects a period when
Mahler's music was still basically unfamiliar, and even puzzling, to audiences, and critics, on this side
of the Atlantic.

The first Mahler symphony to enter the BSO's repertoire was No. 5, introduced here by Wilhelm Gericke
in February 1906. Karl Muck introduced the Second to BSO audiences in January 1918, and Pierre
Monteux the First in November 1923. The Ninth followed in 1931, the Fourth (under Richard Burgin) in
1942, the Seventh (under Koussevitzky) in 1948, the Adagio from the unfinished Tenth in 1953 (Burgin
again), the Third only in 1962 (again Burgin), the Sixth in 1964 (under Erich Leinsdorf), and the Eighth
in 1972 (at Tanglewood under Ozawa; not until 1980 did the BSO play the Eighth in Symphony Hall,
again with Ozawa).

To the Editor of the New York Times:

The music critics of New York City are agreed upon at least one point— Gustav Mahler,
as a composer, is hopeless. Year in and year out, the performance of one of Mahler's
works is invariably accompanied by the same disparaging reviews. Yet no critic has been
able to explain just what it is that [the conductor Willem] Mengelberg— and for that

The Boston Symphony program from the United States premiere of Mahler's Ninth
Symphony under. Serge Koussevitzky in October 7937

matter all Germany, Austria, and Holland— finds so admirable in Mahler's music.

If I write in defense of Mahler it is not merely for the pleasure of contradicting the critics.
As a matter of fact, I also realize that Mahler has at times written music which is bom-
bastic, longwinded, banal. What our critics say regarding his music is, as a rule, quite jus-
tified, but it is what they leave unsaid that seems to me unfair.

If one discounts for the moment the banal themes, the old-fashioned romantico-philo-
sophical conceptions so dear to Mahler— if one looks at the music qua music— then it is
undeniable that Mahler is a composer of today. The Second Symphony, which dates from
1894, is thirty years ahead of its time. From the standpoint of orchestration, Mahler is
head and shoulders above Strauss, whose orchestral methods have already dated so per-
ceptibly. Mahler orchestrates on big, simple lines, in which each note is of importance.
He manages his enormous number of instruments with extraordinary economy, there are
no useless doublings, instrument is pitted against instrument, group against group. So
recent a score as Honegger's "Pacific 231" is proof of Mahler's living influence.

The present-day renewed interest in polyphonic writing cannot fail to reflect glory on
Mahler's consummate mastery of that delicate art. The contrapuntal weaving of voices
in the Eighth Symphony— especially in the first part— is one side of Mahler's genius
which I believe the critics have not sufficiently appreciated.

As for the banality of Mahler's thematic material, I have found that generally no matter
how ordinary the melody may be, there is always somewhere, either in the beginning or
end, one note, one harmony, one slight change which gives the Mahler touch. (Every
page he wrote has the individual quality that we demand from every great composer-
he was never more Mahler than when he was copying Mozart.) In any case, even when
his musical ideas prove barren, I am fascinated by what he does with them and how he
clothes them.

That Mahler has on occasion been grandiloquent is undeniable, but I fail to find any
bombast whatsoever in "Das Lied von der Erde." Most critics, I believe, would agree with
that statement. Yet they are so prone to discussing Mahler's music in generalities that
any one unfamiliar with that composition would be led to suppose that it, too, was full
of sound and fury signifying nothing.

Mahler has possibly never written a perfect masterpiece; yet, in my opinion, such things
as the first movement of the Seventh Symphony, the scherzo of the Ninth, the last move-
ment of the Fourth, and the entire "Das Lied von der Erde" have in them the stuff of living
music.

AARON COPLAND
New York, April 2, 1925

WEEK 2 f 35

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JAMES LEVINE, MUSIC DIRECTOR
BERNARD HAITINK, CONDUCTOR EMERITUS
SEIJI OZAWA, MUSIC DIRECTOR LAUREATE

Boston Symphony Orchestra

130th season, 2010-2011

Thursday, October 14, 8pm
Friday, October 15, 1:30pm
Saturday, October 16, 8pm

JAMES LEVINE conducting

HARBISON

SYMPHONY NO. 3 (I99O)

Sconsolato—
Nostalgico—
Militante —
Appassionato —
Esuberante

MAHLER

{INTERMISSION}

SYMPHONY NO. 5

Parti

Funeral March: At a measured pace.
Strict. Like a cortege

Stormy, with utmost vehemence

Part II

Scherzo: Energetic, not too fast

Part III

Adagietto: Very slow

Rondo-Finale: Allegro giocoso. Lively

U^^ UBS IS PROUD TO SPONSOR THE BSO'S 2010-2011 SEASON.

The evening concerts will end about 10:15 and the afternoon concert about 3:45.

Steinway and Sons Pianos, selected exclusively for Symphony Hall.

Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and
Commonwealth Worldwide Chauffeured Transportation.

The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters,
the late Mrs. A. Werk Cook and the late Mrs. William C. Cox.

In consideration of the performers and those around you, please turn off cellular phones, texting devices,
pagers, watch alarms, and all other electronic devices during the concert.

Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers
and to other audience members.

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From the Music Director

Mahler himself once said, in a famous conversation with Sibelius, that his sym-
phonies needed to encompass the entire universe. One recognizes this from the
programs— often so nature-oriented, as can be heard in the music— Mahler fre-
quently devised for his symphonies; in the way the forces called for (orchestra,
soloists, chorus) change over time; in the varying number of movements, and even
in the amount of time it takes to play them. (The First Symphony is already about
an hour long, and except for the Fourth, the others take 80 minutes or longer.)

Harbison, in his own brief introduction to his symphonies (see page 45), cites
both Mahler and Sibelius as crucial figures in the development of the symphony
in the twentieth century. He also makes a point of mentioning Schoenberg and
Stravinsky as two significant 20th-century composers whose music he had to

WEEK 2 FROM THE MUSIC DIRECTOR 39

absorb while finding his own voice. John's music has always reflected so many
longstanding affinities of his own, both musical (e.g., Bach, Schutz, and jazz) and
literary (e.g., in the choice of subjects for his three operas, Winter's Tole, Full Moon
in March, and The Great Gatsby, and in the texts chosen for his numerous other
vocal works). And there's of course also his personal connection to the Boston
Symphony, which he has been hearing for so many years, and which has commis-
sioned and introduced a variety of his works, among them his First Symphony (a
BSO centennial commission premiered and recorded here by Seiji Ozawa in 1984)
and his Fifth Symphony (a BSO 125th anniversary commission I premiered here
with the orchestra in 2008).

BOSTON
SYM PHONY

ORCH ESTRA

NEW OFFERINGS

New Series
UnderScoRE Fridays

Audience members hear directly from the
conductor about each program, and an early
7pm start-time allows attendees to socialize
with the artists following the performance.
Three Friday evenings at 7pm (includes
complimentary post-concert reception).
January 14, February 11, March 25

BS0 101: Are You Listening?

A New Free Adult Education Series

Join BSO Director of Program Publications
Marc Mandel on four Wednesdays at
Symphony Hall, 5:30-6:45pm, followed by a
reception. Details at bso.org. RSVP required.
October 27, November 10, January 12, March 30

Digital Music Seminars

Baffled by digital music? Free digital music
seminars will be offered prior to several BSO
concerts during the season. Learn how to
download music. Know what music formats
best suits your needs. Explore the BSO's
various new media initiatives. Visit bso.org
for more details.

October 9, 21, 26, 30
Januarys

bso.org
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March 11
April 12

Season Sponsor:

UBS

It's amazing to consider that even all these years after the term was first used,
we are still immersed in studying, rehearsing, performing, and listening to sym-
phonies—and not only symphonies from earlier times, but a seemingly endless
stream of new ones, despite how much the idea of the symphony has changed.
From the time of Mozart, Beethoven, Schumann, and their immediate successors,
to the longer works of Bruckner and Mahler (whose every piece suited an entirely
new conception), the whole symphonic landscape has been utterly transformed.
In the twentieth century, this transformation continued to take place in the hands
of such composers as, for example, Schoenberg, Stravinsky (with Le Sacre du prin-
temps), Prokofiev, and Bartok (whose Music for Strings, Percussion, and Celesta
is symphonic in all but name), as well as American composers like Ives, Piston,
Sessions, William Schuman, and, for us this season and next, John Harbison,
whose five symphonies (soon to be joined by a Sixth) represent not just an indi-
vidual voice, but five different points of view.

I>Z-

WEEK 2 FROM THE MUSIC DIRECTOR 41

Until years of searching led him to his perfect cello, BSO Cellist Owen Young would not rest.

^—^ BOSTON \\
SYMPHONY

ORCHESTRA

l**ES IEVIWE MUSIC DIRECTOR

Until expectations have been met. Then exceeded.

Until the hand that plays it becomes a part of the instrument itself.

Until inspiration and execution are
a singular process, a singular motion.

Practiced. Flawless.

Until we've discovered all the potential that's there to be found.

Until then — even then — we continue to explore, to search.

UBS is proud to be a long-standing Season Sponsor
of the Boston Symphony Orchestra.

Not just because we're fans, but because we share a common trait:
a refusal to allow good enough to be good enough.

We will not rest

UBS

www.ubs.com/wewillnotrest

BOSTON SYMPHONY ORCHESTRA

Seiji Ozawa, Music Director

Sir Colin Davis, Principal Guest Conductor
Joseph Silverstein, Assistant Conductor

One Hundred and Third Season, 1983-84

Thursday, 22 March at 8
Friday, 23 March at 2
Saturday, 24 March at 8

SEIJI OZAWA conducting

6*=^

NICOLAI
HARBISON

Overture to The Merry Wives of Windsor

Symphony No. 1

(world premiere; commissioned by the Boston Symphony
Orchestra for its centennial and supported in part by
a generous grant from the Massachusetts Council on the
Arts and Humanities)

Drammatico

Allegro sfumato

Paesaggio {Landscape): andante

Tempo giusto

INTERMISSION

ELGAR

Violin Concerto in B minor, Opus 6 1
Allegro
Andante
Allegro molto

JOSEPH SILVERSTEIN

Thursday's and Saturday's concerts will end about 9:55 and Friday's about 3:55.
Philips, Telarc, CBS, Deutsche Grammophon, Angel/EMI, Hyperion, and RCA records
Baldwin piano

Please be sure the electronic signal on your watch or pager is switched off

during the concert.

The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft

by her daughters Mrs. A. Werk Cook and the late Mrs. William C. Cox.

Week 18

Program page from the world premiere by the BSO of John Harbison's Symphony No. 7,
from March 1983 (BSO Archives)

John Harbison on his Symphonies:
Introduction to a Cycle

The Boston Symphony Orchestra performs Harbison's First, Second, and Third symphonies
this fall, and will complete the cycle of Harbison symphonies with the Fourth, Fifth, and a
new BSO-commissioned Symphony No. 6 in 2011-12.

C3^ I nave never been one of those who felt the Symphony was played out. So many wonder-
ful symphonies appeared during my early years as a composer. I remember especially
recordings of pieces by Tippett, Piston, Lutosfawski, and Henze, as well as live per-
formances here in Boston of great symphonies by Dutilleux, Sessions, and Hindemith.

I had first to respond to another task— to absorb the very different musical proposals of
our two Hollywood emigre composers, Schoenberg and Stravinsky. I needed at least the
experience of writing a large orchestral tone poem, Diotima; concertos for piano and vio-
lin, an hour-long song cycle Mottetti di Montale, and two operas, Winter's Tale and Full
Moon in March, to line things up.

Eventually I felt convinced by the title "Symphony." I couldn't see why our big orchestral
pieces needed to be called things like Consternations or Entropies I (the 1960s) or Rimmed
by a Veiled Vision (the 70s) if they were symphonic in ambition and scale.

The twentieth century brought a lot to this genre, beginning with the great joust between
Mahler and Sibelius (with Nielsen providing yet another even more eccentric route).
Mahler proposed The Symphony as published autobiography, Sibelius as the free associ-
ation of a private diary. New formal ideas came from these extreme positions, new kinds
of grandeur and intimacy.

The hardest thing to win back for the big genres of symphony and string quartet is some
kind of naturalness, some escape from the self-consciousness of our artistic time. By
setting down Symphony on our title page we accept requirements, expectations, but
cannot let them in while we work. It is not a test, it is a freely offered proof, or deed. We
will need tunes, harmonies that define form, development that is also play, many tones
of voice, movements and sections of varied length and weight.

We will need much of what we usually need, plus the conviction of not having done it this
way before. At least these are some of the things I remembered to say to myself as I
embarked— aware that if I found just one beginning it could be the net or foil that gets
more phrases, eventually a piece. And once there is one piece, another comes from the
determination to do something different. And another, to work away from the first two.
I am grateful to James Levine for offering a chance to weight them individually, to see
how they add up, to see— at distances of thirty years to a few months— if they contain
their year of origin and still pertain to our present. To see if they are symphonies.

John Harbison

WEEK 2 HARBISON 45

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John Harbison

Symphony No. 3 (1990)

JOHN HARBISON was born in Orange, New Jersey, on December 20, 1938, and lives in Cambridge,
Massachusetts, and Token Creek, Wisconsin. He wrote his Symphony No. 3 in 1990 on commission
from the Baltimore Symphony Orchestra, which first performed it on February 26, 1991, under
conductor David Zinman. The score is dedicated to Harbison's friend, the composer Christopher
Rouse. The Boston Symphony Orchestra previously performed Harbison's Third Symphony in
January 2003, with James Levine conducting.

THE SCORE OF HARBISON'S SYMPHONY NO. 3 calls for three flutes (third doubling piccolo),
three oboes (third doubling English horn), three clarinets (third doubling bass clarinet), three
bassoons (third doubling contrabassoon), four horns, three trumpets, three trombones, tuba, per-
cussion (four players recommended: four tom-toms, tambourine, tenor drum, snare drum, bass
drum, log drum, lujon, temple blocks, wood block, four suspended cymbals, triangle, cowbell,
tam-tam, four brake drums, high bell, chimes, crotales, timbales, xylophone, marimba, glockenspiel),
timpani, piano, and strings. The duration of the piece is about twenty-four minutes.

In the nineteenth century, in the generations following Beethoven, the genre of the sym-
phony was arguably the ultimate obligation of the composer working in the German
tradition, tempting composers with the opportunity to innovate within an established
mode. Whether or not they choose to follow that path, to write or not to write a symphony
is something composers have continued to take seriously throughout the bewildering
stylistic upheavals of the past two centuries. In the twentieth century, as American con-
cert music came into its maturity, many American composers took on the symphony as
a way of cementing their own credibility as artists and craftsmen. The symphonic cycles
of Charles Ives (four), Roy Harris (eleven), Walter Piston (eight), and Roger Sessions
(nine) are among the most significant; Aaron Copland and Leonard Bernstein, both of
whose predilections lay elsewhere, made their mark.

In the early twenty-first century, the genre remains one to grapple with for composers
influenced by that legacy, and music organizations like the Boston Symphony Orchestra

WEEK 2 PROGRAM NOTES

Working in Unison

Atlantic Charter is proud to support the

Boston Symphony Orchestra in its upcoming season.

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please visit www.atlanticcharter.com

John Harbison and James Levine following the world
premiere of Harbison's "Darkbloom: Overture for
an imagined opera," March 2005 (Michael J. Lutch)

are deeply involved in its continuance. In the past few years, the BSO has commissioned
symphonies from Charles Wuorinen (his Eighth), William Bolcom (Eighth), and John
Harbison (Fifth). Apparently the symphony cycle remains alive and well. This season
and next, Boston Symphony audiences will have the chance to assess Cambridge-based,
Pulitzer Prize-winning composer John Harbison's ongoing cycle with performances of his
first three symphonies this year and, next season, the Fourth, Fifth, and yet-to-be written
Sixth (a BSO commission).

Harbison's symphony cycle was triggered thirty years ago by the BSO's centennial com-
mission for the work that became the composer's Symphony No. 1, which was premiered
in 1984 under Seiji Ozawa (and will be performed by the BSO this season November 26,
27, and 30 under James Levine). It was the composer himself who decided to take on
"Symphony" at that point in his career, in his mid-forties (about the same age as Brahms
when he finally allowed his First into the world). The four-movement piece demonstrated
a seriousness of purpose that aligned it immediately with a Big Tradition, an acknowl-
edgement of the major accomplishments in the genre by his predecessors— particularly,
perhaps, Roger Sessions, one of Harbison's early mentors.

In retrospect it seems inarguable that the Symphony No. 1 was numbered "1" to designate
the start of a series. Of course, commissions were needed to bring that series piece-by-
piece to fruition. When the San Francisco Symphony came calling, Harbison was ready
to write Symphony No. 2— again his own choice of genre— which was finished and pre-
miered in 1987. (No. 2 will be performed by the BSO December 2-4, again with James
Levine conducting.) Looking at these first two symphonies, and extra-musical clues
including the composer's comments and movement titles (those of the Second being
"Dawn," "Daylight," "Dusk," "Darkness"), we begin to see a narrative, dramatic approach
easily reconcilable with a strong literary and theatrical current throughout Harbison's
career. This is not to say the "stories" of his symphonies are explicit, but that the flow

WEEK 2 PROGRAM NOTES 49

On stage (from left) following
the world premiere of Harbison's
Symphony No. 5 for baritone,
mezzo-soprano, and orchestra,
April 2008: John Harbison,
James Levine, and vocal soloists
Nathan Gunn and Kate Lindsey
(Michael J. Lutch)

and transformation of expressive content tie the movements together in a definite arc
analogous to narrative.

Harbison's Third Symphony solidifies this idea. Following his Second by three years, it
was commissioned and premiered by the Baltimore Symphony. Before he wrote his
next symphony, more than a dozen years passed, during which he completed his first
evening-length opera, The Great Gatsby, for the Metropolitan Opera, and other major
pieces including a Cello Concerto (a Boston Symphony co-commission for Yo-Yo Ma)
and his Requiem (another BSO commission, premiered here in March 2003). Harbison
wrote his Fourth Symphony for the Seattle Symphony and Gerard Schwarz, who gave the
first performances in 2004.

John Harbison's relationship with the Boston Symphony Orchestra is longstanding and
wide-ranging, first as an audience member during his Harvard years in the late 1950s,
then as a member of the conducting class of the Tanglewood Music Center, and finally as
a composer with the BSO's performances of his tone poem Diotima in 1977 (commis-
sioned by the Koussevitzky Foundation). He has written (about Robert Schumann) for
the BSO program book and served as a Tanglewood faculty member, also directing the
Festival of Contemporary Music, and is currently chairman of the TMC composition pro-
gram. With James Levine's arrival as music director of the Boston Symphony Orchestra
at the start of the 2004-05 season, Harbison's music has been heard here even more
frequently in recent seasons. Since then, the BSO commissioned and premiered his Dark-
bloom, Overture for an imagined opera and his Symphony No. 5, and co-commissioned his
Concerto for Bass Viol. In April 2010, the orchestra premiered his Double Concerto for
violin, cello, and orchestra.

WEEK 2 PROGRAM NOTES

The church of Sant' llario, near Genoa,
source of the carillon melody heard in
the second movement of Harbison's
Symphony No. 3

soprano of a Louise Gluck poem, and the final movement is a duet for mezzo and
baritone singing a Rilke poem. The theme of these texts is explicitly the Orpheus myth,
making more concrete the idea of a self-contained narrative idea in the symphony. At thirty-
two minutes, the Fifth is Harbison's longest symphony to date. His Sixth— stay tuned.

Harbison's Third Symphony is a five-movement piece, with its middle movement a scher-
zo, and in that broad sense is identifiable with Mahler's Symphony No. 5 (and, for that
matter, No. 7). Harbison's is a much smaller work, however, its twenty-four-minute span
more classically constrained. Each movement is a transformation— a further stage of a
journey, perhaps— of the previous one, their moods flowing one to the next. Each is des-
ignated by a characterful Italian title. "Sconsolato" ("Disconsolate") begins with a repeated
little phrase of resignation. This series of sighs is interrupted by energetic responses
before returning, refrain-like. This is followed by "Nostalgico," in which clarinets in parallel
sing a folk-like phrase, alternating with darker horns and trombones. In the midst of this
we hear an orchestral rendering of the carillon or bell-song from the Sant' llario church in
Genoa, Italy. The highly contrasting "Militante" of the scherzo features breaks for mallet
percussion and, later, drums, between the shouts of the brass. The yearningly melodic
"Appassionato" presents a melody in violins that repeats three times with an expansion
of orchestral forces. The clarinets' fanfare at the start of the "Esuberante" ("Exuberant")
finale are a nod to the start of "Nostalgico," but the propulsive music here is a complete
contrast.

The sighing gesture with which the symphony begins is a counterintuitive beginning, los-
ing energy instead of creating it, but it serves both as a point of departure and a source
for later material. It also establishes the pitch center, D, of the piece, sounded by the tim-
pani at the end of the first disconsolate "sigh" and at the end of the piece in a bright and
satisfying D major chord. The sighing figure can be heard again as the piece progresses:
either explicitly as background to a woodwind melody in the second movement, just

prior to the Sant' llario carillon, or as the origin of the sinking, falling phrases that counter
faster, more energetic music, such as at the end of the "Militante." Ultimately this ener-
vated mood is countered and balanced by the excitement of the propulsive finale.

Robert Kirzinger

JOHN HARBISON PROVIDED THE FOLLOWING COMMENTS ON HIS SYMPHONY
NO. 3 ORIGINALLY FOR A COMPACT DISC RELEASE BY THE ALBANY SYMPHONY
ORCHESTRA IN 2000:

Symphony No. 3 was composed for the Baltimore Symphony and its conductor David
Zinman. It is dedicated to the orchestra's former composer-in-residence Christopher
Rouse.

David Zinman and the orchestra have splendidly performed my first two symphonies,
and the first thoughts for this one came while I was in Baltimore for the Second Symphony
(the commission for a new piece had already been discussed). Among the first musical
images were a carillon melody associated with the church of Sant' llario, near Genoa, a
long violin line with percussion accompaniment, and a drum pattern I associated with
the Baltimore swing era hero, Chick Webb. The focus on percussion led naturally to the
dedication to Chris Rouse, from whom I have learned much on these and other matters.

The piece is a continuous progression of temperamental movements each of which neces-
sitates the next, and for which the following designations were found: Disconsolate,
Nostalgic, Militant, Passionate, and Exuberant.

I hope the conductor and the players find these adjectives helpful, but the listener may
prefer to focus on a more fluid psychological progression, with its momentary victories
and defeats, and its release at the end. As with my first two symphonies, the piece got
its title only after other avenues were explored. It is not Five Pieces because these follow
out of each other and refer to each other, It is not a Suite because there is no stylization,
or clear connection to the dance. It is a symphony in the late-20th-century sense, a music
requiring space, a certain sonorous latitude, and existing in the foreground. In something
over twenty minutes it wants, after its span, to inhabit like minds, spirits, and bodies,
perhaps at moments when they least expect, thus confirming that it needed to be expressed
as music and not something else.

John Harbison

WEEK 2 PROGRAM NOTES 53

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Gustav Mahler

Symphony No. 5

GUSTAV MAHLER was born at Kalischt (Kaliste) near the Moravian border of Bohemia on July 7,
i860, and died in Vienna on May 18, 1911. He began writing his Fifth Symphony in 1901 and
completed it in 1902. Mahler himself conducted the premiere, on October 18, 1904, with the
Giirzenich Orchestra in Cologne, having already led the Vienna Philharmonic in a read-through
earlier that same year. He continued to revise details of the orchestration until 1907, and perhaps
as late as 1909.

THE SCORE OF MAHLER'S SYMPHONY NO. 5 calls for four flutes (two doubling piccolo), three
oboes and English horn, three clarinets, clarinet in D, and bass clarinet, three bassoons and contra-
bassoon, six horns, four trumpets, three trombones, tuba, timpani, cymbals, bass drum, bass drum
with cymbals attached, snare drum, triangle, glockenspiel, tam-tam, slapstick, harp, and strings.

Mahler finished his "first period" with his Fourth Symphony right at the end of the
nineteenth century. The music he wrote at the beginning of the new century pointed
in a new direction. The first four symphonies are all inspired by or based on songs,
especially the songs of the collection of folk poetry known as Des Knaben Wunderhorn
(The Youth's Magic Horn). By the turn of the century, Mahler had stopped drawing
upon that source for good, though with perhaps one last glimpse in the Fifth Sym-
phony. His next songs were settings of the poet Ruckert, including his finest cycle,
Kindertotenlieder, three songs of which were completed before he began work on
the symphony. The songs make themselves felt here and there in the Fifth by way
of brief reminiscences, but the symphony as a whole — like its two successors — is a
purely orchestral work with no vocal parts and no hint of musical shapes dictated
by song.

The group of three instrumental symphonies — Nos. 5, 6, and 7 — belongs together
in another respect. Mahler's orchestration is notably different from that of the ear-
lier works. The parts are now often more independent of one another in a highly

WEEK 2 PROGRAM NOTES

TWENTY-FIFTH SEASON, 1905-1906.

Fourteenth Rehearsal and Concert*

FRIDAY AFTERNOON, FEBRUARY 2, at 230 o'clock.

SATURDAY EVENING, FEBRUARY 3, at 8.00 o'clock.

Beethoven
Schumann

PROGRAMME.

Overture to Goethe's " Egmont," Op. 84

Concerto in A minor, for Pianoforte and
Orchestra, Op. 54
I. Allegro affettuoso.
II. Intermezzo : Andantino grazioso.
III. Allegro vivace.

Mahler

Symphony in C-sharp minor, No. 5. First time here

Part I.

I. Dead march. With measured step. Like a funeral train.
C-sharp minor. Suddenly faster, passionately, wildly.
A tempo.
II. Stormily restless. With utmost vehemence. A minor.

Part II.

III. Scherzo. With force, but not too fast. D major.

Part III.

IV. Adagietto. Very slow. F major.
V. Rondo-Finale: Allegro. D major.

SOLOIST :
Mr. HAROLD BAUER.

The pianoforte is a Mason & Hamlin.

There will be an intermission of ten minutes before the symphony.

The doors of the hall will be closed during the performance of
each number on the programme. Those who wish to leave before
the end pf the concert are requested to do so in an interval be-
tween the numbers.

City of Boston, Revised Regulation of August 5, 1898.— Chapter 3, relating
to the covering of the head in places of public amusement.
Every licensee shall not, in his place of amusement, allow any person to wear upon the head a covering
which obstructs the view of the exhibition or performance in such place of any person seated in any seat therein
provided for spectators, it being understood that a low head covering without projection, which does not
obstruct such view, may be worn. Attest: J. M. GALVIN, City Clerk.

907

Program page for the first BSO performance of Mahler's Symphony No. 5, led by Wilhelm
Gericke in February 1906, on a program with Beethoven's "Egmont" Overture and Schumann's
Piano Concerto, with just a ten-minute intermission! (BSO Archives)

contrapuntal texture, and he more frequently uses small subsections of the orches-
tra— as if the entire ensemble consisted of an immensely varied series of chamber
groups. At first the novelty of this approach gave Mahler considerable trouble. At a
reading rehearsal in Vienna before the Cologne premiere of the Fifth, he was horri-
fied to discover that he had seriously over-orchestrated large sections of the score.
He took a red pencil to his manuscript and crossed out many parts. Still unsatisfied
after the official premiere, Mahler continued touching up the scoring of the Fifth
Symphony almost until the day he died.

The distinction between works written before and after the turn of the century is
not cut-and-dried, to be sure. The Fourth Symphony already shows more independ-
ent instrumental writing, and the scoring of the Kindertotenlieder and other Ruckert
songs grows out of it. It leads as naturally into the instrumental style of the Fifth.
The novelty is more a matter of degree than of kind. Still, the Fifth marks a percep-
tible turning point in Mahler's output, a determination to avoid programmatic ele-
ments (at least those of the kind inherent in the setting of a text or proclaimed to
the public in a printed program note) and let the music speak for itself.

Mahler anticipated the contrapuntal character of the Fifth in some conversations
with his friend Natalie Bauer-Lechner while recuperating, in March 1901, from sur-
gery for an intestinal hemorrhage that very nearly killed him. He talked to Natalie
about the late Beethoven string quartets, describing them as "far more polyphonic
than his symphonies." He was obsessed with the idea of different themes that
would combine and "develop freely, side by side, each with its own impetus and
purpose, so that people will always be able to distinguish them one from another."
And he plunged into hours of study of the Bochgesellschoft edition of Bach's works.

His illness, he decided, had been caused in large part by the strains of conducting
the rebellious Vienna Philharmonic, with many of whose members he had deep-
rooted differences of opinion on matters of musical interpretation, and by the need
to withstand the endless attacks of an anti-Semitic press. On returning from a holi-
day on the Istrian peninsula, he submitted his resignation to the committee of the
Philharmonic, retaining the music directorship of the opera, which brought him
quite enough headaches.

But as summer approached, Mahler was able to look forward to a summer vacation
dedicated largely to composing in a newly built retreat all his own, a large chalet at
Maiernigg, a resort town in Carinthia on Lake Worth. He had selected the site before
the season of 1899-1900 and followed the construction of the house whenever he
was not actually working on the Fourth Symphony in the summer of 1900. By 1901,
it was ready for occupancy. Villa Mahler was situated between the forest and the
water, arranged so that all the rooms had panoramic lake views. He worked several
hours a day in a "Hauschen" ("little house") not far away but completely isolated, to
give Mahler total silence while composing.

WEEK 2 PROGRAM NOTES 57

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Mahler's villa at Maiernigg

He brought the Bach edition with him and spent hours studying in particular one of
the eight-part motets. "The way the eight voices are led along in a polyphony which
he alone masters is unbelievable!" In addition to Bach he studied some songs of
Schumann, whom he regarded as second only to Schubert in that genre, and he
arranged evening musicales in the house. At first he didn't worry about composi-
tion. By July he started composing a few songs — the last of the Wunderhorn group
(Tamboursg'sell) and the first of his Ruckert songs. He determined to give himself
two weeks of complete rest, and ironically, just at that point, he found himself
immersed in a large project that was to become the Fifth Symphony.

There were others in the household — his sister Justine; the violinist Arnold Rose,
with whom Justine was having an affair and whom she later married; and Natalie
Bauer-Lechner, a musician friend who kept an informative journal of her encounters
with Mahler and who clearly suffered pangs of unrequited love (she disappeared
from his life within days of his engagement to Alma Schindler). To them he said
nothing about the new work. But as he spent more and more hours in the Hauschen,
no one doubted that he was involved in something extensive. In fact, he was com-
posing two movements of the symphony (one of them the scherzo, which gave
him an enormous amount of trouble) and turning now and then to further songs,
including the finest of all, Ich bin der Welt obhanden gekommen. All too soon the
summer was over, and the symphony had to remain unfinished as he took up his
operatic duties in Vienna.

Mahler was not able to return to work on the symphony until the following summer,
but in the meantime a casual encounter at a dinner on November 7 changed his
life. Seated opposite him at the table was a young woman of spectacular beauty
and considerable self-assurance. Her name was Alma Schindler, and she had been
studying composition with Alexander Zemlinsky. After dinner Alma and Mahler got

WEEK 2 PROGRAM NOTES

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into a heated argument about a ballet score that Zemlinsky had submitted to Mahler
for possible production. Mahler had never replied to the submission, and she taxed
him with rudeness. Before the evening was over Mahler was clearly enchanted with
the girl's beauty, but also by her wit and her fiery disposition. He made her promise
to bring samples of her own work to the Opera. In less than two weeks it was clear
to all concerned that something serious was in the wind. By November 27 Mahler
was already talking of marriage, and almost against her will Alma was realizing that
"He's the only man who can give meaning to my life, for he far surpasses all the
men I've ever met." Yet she was still confused, having recently been convinced that
she was in love with Zemlinsky. But by December 9, when Mahler left for ten days
in Berlin to conduct his Second and Fourth symphonies, she had made up her mind.

Before Christmas they officially celebrated their engagement. When they married
on March 9, Alma was already pregnant. It was only the least of the complications
in their life together. In some respects two people can hardly have been less well
suited to each other, whether by age, temperament, character, or interests. Mahler
was passionately in love with her but was overbearing in his demands that she
entirely devote her attention to him, even to the point of giving up her study of
composition. Alma was capricious, flirtatious, and conceited, though she was also
very intelligent and witty, musical, capable of great generosity and petty meanness.
Yet virtually everything Mahler wrote for the rest of his life was composed for her,
beginning with the conclusion of the Fifth Symphony. And whatever difficulties
they may have experienced in their life together, there is little question that she
inspired him to vast compositional achievements — seven enormous symphonies
(counting Das Lied von der Erde and the unfinished Tenth) in less than a decade,
during the first five years of which he was also in charge of the Vienna Opera and
later of the New York Philharmonic.

It is possible that Mahler wrote the famous Adagietto movement of the Fifth dur-
ing the period before his marriage. At any rate, the conductor Willem Mengelberg
wrote this note in his score:

NB: This Adagietto was Gustav Mahler's declaration of love to Alma! Instead of a
letter he confided it in this manuscript without a word of explanation. She under-
stood it and replied: He should come!!! (I have this from both of them!) W.M.

Though Alma's diary fails to mention such a musical missive, it is possible that the
movement served in fact as a love letter (Mahler wrote her plenty of other letters,
too, especially when he was away in Berlin). Since she was a musician and compo-
sition student herself, she could be expected to be able to read the music and sense
its emotional import, especially since its scoring — just strings and harp — is the
sparest of any symphonic movement Mahler ever wrote.

After their wedding Mahler and Alma took their honeymoon in Russia, where he
conducted some performances in St. Petersburg. Then, after a short time in their

WEEK 2 PROGRAM NOTES 6l

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Vienna apartment, they went to Krefeld, where Mahler conducted the first com-
plete performance of his Third Symphony on June 9. This performance, a great suc-
cess, was the beginning of Mahler's fame outside of Vienna. Elated, he and Alma
went to Maiernigg for the summer, where they enjoyed swims and long walks. He
worked on completing the Fifth in the seclusion of his Hauschen, while she remained
in the house preparing a fair copy of the finished pages of score. The work was
completed in short score by autumn. Mahler wrote out the detailed orchestration
during the winter by rising before breakfast and working on it until it was time to
go to the opera house.

One unusual aspect of the Fifth — the complete absence of a text or descriptive
explanation from the composer — seems to have been motivated by the unhappy
reaction of the audience at the premiere of the Fourth Symphony in November 1901,
when Mahler conducted it in Munich to almost universal ridicule and misunder-
standing. The success he had achieved with the Second so recently was completely
undone. He attributed the critics' lack of perception to their inability to follow an
abstract musical argument. It was all the fault of Berlioz and Liszt, he said, who
began writing program music (though theirs had genius, he admitted, unlike the
music of some later composers) so that the "plot" of the score had become a nec-
essary crutch to listening.

One result of this experience was Mahler's determination to avoid giving any
explanation of the "meaning" or "program" of his next symphony. Even when sup-
portive musicians asked him for some guidance, he remained silent. He expressed
himself with far greater vigor on the subject at a dinner in Munich following a per-
formance of the Second Symphony. When someone mentioned program books,
Mahler is reported to have leaped upon the table and exclaimed:

WEEK 2 PROGRAM NOTES

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Down with program books, which spread false ideas! The audience should be left to
its own thoughts over the work that is performed; it should not be forced to read
during the performance; it should not be prejudiced in any manner. If a composer by
his music forces on his hearers the sensations which streamed through his mind, then
he reaches his goal. The speech of tones has then approached the language of words,
but it is far more capable of expression and declaration.

He is then reported to have raised his glass, emptied it, and cried, "Pereat den Pro-
grammen!" ("Let the programs perish!"). (When the Boston Symphony performed
the Fifth for the first time in 1906, Philip Hale wrote in his program book essay, "Let
us respect the wishes of Mr. Mahler.")

Following such an outburst, the annotator proceeds with trepidation. Still, Mahler's
pique was aimed at first-time listeners whose reaction might be prejudiced one
way or another by an explanation. Eventually listeners may desire some considera-
tion of the music, especially because Mahler's music is no less expressive for all his
eschewing of programs, and in some respects it is a good deal more complicated.

The symphony is laid out in five movements, though Mahler grouped the first two
and the last two together so that there are, in all, three "parts" tracing a progression
from tragedy to an exuberant display of contrapuntal mastery and a harmonic pro-
gression from the opening C-sharp minor to D major. The keys of the intervening
movements (A minor, D, and F) also outline a chord on D, which would therefore
seem to be a more reasonable designation for the key of the symphony, with the
opening C-sharp conceived as a leading tone. Nonetheless the Fifth is customarily
described as being in the key of C-sharp minor.

The opening movement has the character of a funeral march, rather martial in
character, given the opening trumpet fanfare (derived from the first movement of
the Fourth Symphony*) and the drumlike tattoo of the strings and winds in the
introductory passage. The main march theme is darkly somber, a melody related
to the recently composed song Der Tamboursg'sell (a last echo of Des Knaben
Wunderhorn). The Trio is a wild, almost hysterical outcry in B-flat minor gradually
returning to the tempo and the rhythmic tattoo of the opening. The basic march
returns and closes with a recollection of the first song from Kindertotenlieder, which

* Much has been written about the numerous internal references between one work and another in
Mahler's output, and the Fifth Symphony is very much a case in point. It is worth recalling that
Mahler was frequently conducting one work while finishing the scoring of another and planning
the composition of yet a third. It would be very surprising, under the circumstances, if the musical
world of one such piece did not make itself felt in his imagination when he was working out the
details of a new piece. A composer who either did not conduct at all or could rely on others to
introduce his music and give most of the performances would be more easily able to put a finished
work entirely behind him.

WEEK 2 PROGRAM NOTES

Mahler was almost certainly composing while he worked on this movement as
well. The second Trio, in A minor, is more subdued and given largely to the strings.
Last echoes of the trumpet fanfare bring the movement to an end.

The second movement, marked "Stormy, with utmost vehemence," has a number
of links to the first. It takes the frenetic outbursts of the first movement as its basic
character and contrasts them with a sorrowful march melody in the cellos and clar-
inets. They take turns three times (each varied and somewhat briefer than the one
before). A premature shout of triumph is cut off, and the main material returns.
The shout of triumph comes back briefly as a chorale in D (the key that will ulti-
mately prevail), but for now the movement ends in hushed mystery.

According to Natalie Bauer-Lechner, Mahler had an idea for the character of the
scherzo, though he chose not to reveal it to the public. Following the dark and emo-
tional character of Part I, the second part was to represent "a human being in the
full light of day, in the prime of his life." The scherzo is on an unusually large scale,
but it moves with great energy and speed, much of it as a lilting and whirling waltz
with a featured solo horn. There are sardonic twists here and there, boisterous pas-
sages, even brutal ones, and some that have the lilt and verve of The Merry Widow.

The last part begins with the famous Adagietto, once almost the only movement of
Mahler's music that was heard with any frequency. When Mahler wrote it he was
recalling the musical worlds created for the second song of Kindertotenlieder and

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Ich bin der Welt abhonden gekommen, though he is not using either song to shape
this exquisitely restrained movement. The melody grows in sweeping arches to a
climactic peak that is not hammered with fortissimos but whispered as if with
bated breath.

Mahler builds his finale as a grand rondo in which, after an opening horn call, a
bassoon quotes a phrase from one of Mahler's Wunderhorn songs, Lob des hohen
Verstandes, which describes a singing contest the outcome of which is controlled by
a donkey. Good-natured satire of academic pedantry is the point of the song, and
Mahler here undertakes his own cheerful demonstration of counterpoint, the aca-
demic subject par excellence in music theory, treated in a wonderfully exuberant
and freewheeling way. He is concerned to build up a symphonic structure, alluding
to the theme of the Adagietto with music of very different spirit. The climax of the
symphony brings back the chorale theme from the second movement, the one ear-
lier passage in all that tragic realm that hinted at the extroversion of D major, now
finally achieved and celebrated with tremendous zest.

Steven Ledbetter

STEVEN LEDBETTER was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

THE FIRST AMERICAN PERFORMANCE OF MAHLER'S SYMPHONY NO. 5 was given by the
Cincinnati Symphony Orchestra under the direction of Frank van der Stucken on March 25, 1905.

THE FIRST BOSTON SYMPHONY PERFORMANCES of Mahler's Fifth Symphony— the BSO's first
of any Mahler symphony— took place on February 2 and 3, 1906, with Wilhelm Gericke conducting,
followed later that same month by performances in Philadelphia, New York, and an additional pair
of performances in Boston. Since then, the Mahler Fifth has been performed in BSO concerts under
the direction of Karl Muck (April 1913; then in Boston, Philadelphia, New York, and Boston again
during the 1913-14 season), Serge Koussevitzky (in October 1937, then again that same season in
Boston and New York in March 1938, twenty-four years after Muck's multiple performances in 1913-14,
as well as a later subscription pair in March 1940), Richard Burgin, Erich Leinsdorf (who recorded
the Mahler Fifth with the BSO in November 1963, and whose 1964 Tanglewood performance of
the work, its first at Tanglewood, was played "in memory of Serge Koussevitzky"), Michael Tilson
Thomas, Joseph Silverstein, Seiji Ozawa (on numerous occasions between 1975 and 1997, the last
time as part of the Serge and Olga Koussevitzky Memorial Concert in August 1997), Christoph
Eschenbach, and Daniele Gatti. The most recent Tanglewood performance by the BSO was Ozawa's
in 1997, though Zubin Mehta and the Israel Philharmonic played it there in August 2001. The most
recent subscription performances were Daniele Gatti's, as part of the opening program of the
2004-05 season.

WEEK 2 PROGRAM NOTES 67

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To Read and Hear More...

Currently, the best quickly available source of information about John Harbison is the
website of his publisher, G. Schirmer (www.schirmer.com), which contains a biography,
works list, reviews, and several interesting essays about the composer and individual
pieces, including his opera The Great Gatsby. David St. George wrote the essay on Harbison
in the New Grove II; Richard Swift wrote the one in The New Grove Dictionary of American
Music (from 1983). The BSO's "Concert Companion" pages for Harbison at bso.org provide
a multimedia view of the composer's career.

A live recording by James Levine and the Munich Philharmonic of Harbison's Symphony
No. 3 was released as volume 7 in the series "Documents of the Munich Years" (Oehms
Classics, with Gershwin's Cuban Overture and Ives's Symphony No. 2). James Levine's
January 2000 Metropolitan Opera broadcast premiere of Harbison's opera The Great
Gatsby was released last month by the Metropolitan Opera as part of an eleven-opera
set (thirty-two CDs in all) commemorating the fortieth anniversary of the conductor's
Met debut (available, as is a new eleven-opera box of Levine-led Met telecasts on twenty-
one DVDs, at metoperashop.org and Amazon.com). David Alan Miller's recording of the
Symphony No. 3 with the Albany Symphony also includes the composer's Flute Concerto
and The Most Often Used Chords for orchestra (Albany Records). The Boston Symphony
Orchestra and Seiji Ozawa recorded Harbison's Symphony No. 1, a BSO centennial com-
mission, soon after its premiere in 1984 (New World Records), and the Boston Symphony
Chamber Players, with pianist Gilbert Kalish, recorded the Piano Quintet and Words from
Paterson, the latter with baritone Sanford Sylvan, on a disc with Simple Daylight performed
by Kalish and soprano Dawn Upshaw (Nonesuch). Herbert Blomstedt's recording of the
Second Symphony with the San Francisco Symphony Orchestra, although deleted by the
original label (London), is available as a fully licensed reissue from ArkivMusic online.
(The disc also includes Harbison's Oboe Concerto and Roger Sessions's Symphony No. 2.)

Also of interest in the extensive Harbison recordings catalogue are the recording by the
Boston-based Cantata Singers and Orchestra, led by conductor David Hoose, of the
Pulitzer Prize-winning cantata The Flight into Egypt, with soprano Roberta Anderson and
baritone Sanford Sylvan; and the Boston Modern Orchestra Project's recordings of the
ballet Ulysses and the opera Full Moon in March. BMOP's recording of Harbison's earlier
opera, Winter's Tale, is forthcoming. The Lydian String Quartet's recording of Harbison's
four string quartets was released last year (Centaur).

Robert Kirzinger

WEEK 2 READ AND HEAR MORE

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Deryck Cooke's Gustav Mahler: An Introduction to his Music is a first-rate brief guide to the
composer's music (Cambridge University paperback). Other good starting points include
Peter Franklin's The life of Mahler in the series "Musical lives" (Cambridge University paper-
back); Paul Banks's Mahler article from the 1980 New Grove Dictionary of Music and
Musicians, reprinted in The New Grove Turn of the Century Masters: Jandcek, Mahler, Strauss,
Sibelius (Norton paperback); Michael Kennedy's Mahler in the "Master Musicians" series
(Oxford paperback), and Kurt Blaukopf's Mahler (Limelight paperback). The Mahler arti-
cle in the revised Grove (2001) is by Peter Franklin. Mahler enthusiast and conductor
Gilbert Kaplan has seen to the publication of The Mahler Album with the aim of bringing
together every known photograph of the composer (The Kaplan Foundation with Thames
and Hudson). The Kaplan Foundation's latest publication, published September 2010, is
Mahler's Concerts by Knud Martner, which offers the first detailed history of Mahler on
the podium, including music performed, soloists, concert halls, etc., for each of more
than 300 concerts, as well as a great many reproductions from the original programs
and concert announcements (co-published with Overlook Press). Jonathan Carr's Mahler
offers an accessible approach aimed at beginners and enthusiasts (Overlook Press).
Mahler Discography, edited by Peter Fulop, will still be valuable to anyone interested in
Mahler recordings, despite its 1995 publication date (The Kaplan Foundation). Michael
Steinberg's program notes on Mahler symphonies 1 through 10 are in his compilation
volume The Symphony-A Listener's Guide (Oxford paperback). Though now more than
thirty years old, Kurt Blaukopf's extensively illustrated Mahler: A Documentary Study
remains well worth seeking from second-hand shops (Oxford University Press). Additional
information on Mahler can be found as part of the BSO's "Classical Companion" feature
at bso.org.

Henry-Louis de La Grange's biography of Mahler, originally in French, and of which a
four-volume English version is planned, so far includes three English-language volumes-
Vienna: The Years of Challenge, 1897-1904; Vienna: Triumph and Disillusion, 1904-1907; and
(the most recent volume, covering his final years) Gustav Mahler: A New Life Cut Short,

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Bettina A. Norton, executive editor

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WEEK 2 READ AND HEAR MORE

7907-1971 (Oxford). The out-of-print, original first volume of La Grange's study, entitled
simply Mahler, and due for revision, covered Mahler's life and work through January 1902
(Doubleday). The other big Mahler biography, Donald Mitchell's, so far extends to three
volumes— Volume I: The Early Years; Volume II: The Wunderhorn Years; and Volume III:
Songs and Symphonies of Life and Death— covering through the period of Das Lied von
der Erde (University of California). Additions to the Mahler bibliography in recent years
include The Cambridge Companion to Mahler, edited by Jeffrey Barham (Cambridge Uni-
versity paperback); Gustav Mahler: Letters to his Wife, edited by Antony Beaumont,
Henry-Louis de La Grange, and Gunther Weiss (Cornell University Press; Beaumont
previously compiled Alma Mahler-Werfel: Diaries 1898-1902, from the same publisher);
and Stuart Feder's Gustav Mahler: A Life in Crisis, a psychoanalytic view of the composer's
life (Yale University Press). The Mahler Companion, edited by Donald Mitchell and Andrew
Nicholson, is an important volume of essays devoted to Mahler's life, works, and milieu,
with individual chapters on all of his major pieces, including a chapter by Donald Mitchell
on the Symphony No. 5 (Oxford). Alma Mahler's autobiography And the Bridge is Love
(Harcourt Brace Jovanovich) and her Gustav Mahler: Memories and Letters (University of
Washington paperback) provide important if necessarily subjective source materials.
Knud Martner's Gustav Mahler: Selected Letters offers a useful volume of correspondence,
including all the letters published in Alma's earlier collection (Farrar, Straus and Giroux).

The Boston Symphony Orchestra recorded Mahler's Fifth Symphony in 1963 with Erich
Leinsdorf conducting (RCA) and in 1990 as part of its complete Mahler symphony cycle

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led by Seiji Ozawa (Philips). James Levine recorded Mahler's Symphony No. 5 in 1977
with the Philadelphia Orchestra (RCA). Other noteworthy recordings include (alphabeti-
cally by conductor) Claudio Abbado's with the Berlin Philharmonic (Deutsche Gram-
mophon) or more recently with the Lucerne Festival Orchestra (Euroarts), Daniel Baren-
boim's with the Chicago Symphony Orchestra (Teldec), Leonard Bernstein's with either
the New York Philharmonic (Sony) or the Vienna Philharmonic (Deutsche Grammophon),
Pierre Boulez's with the Vienna Philharmonic (Deutsche Grammophon), Daniele Gatti's
with the Royal Philharmonic Orchestra (RCA), Bernard Haitink's with both the Concertge-
bouw Orchestra of Amsterdam and the Berlin Philharmonic (both on Philips, plus, for
those interested, a recent super-hybrid remastering of the Concertgebouw recording on
Pentatone), Georg Solti's with the Chicago Symphony (Decca), Klaus Tennstedt's with
the London Philharmonic (EMI, the 1988 live recording, not his ten-years-older studio
account), Michael Tilson Thomas's with the San Francisco Symphony (a live 2005 per-
formance on the orchestra's own label), Bruno Walter's with the New York Philharmonic
(Sony, monaural, the work's first complete recording, from 1947), and Benjamin Zander's
with the Philharmonia Orchestra (Telarc). Bruno Walter's 1938 recording of the Adagietto
alone, with the Vienna Philharmonic, is in the excellent "Great Conductors of the 20th
Century" volume devoted to that conductor (EMI/IMG Artists). At just eight minutes
long, Walter's approach to the Adagietto stands in sharp contrast to the much slower
tempos so often favored by today's conductors. Equally interesting— fascinating, even,
given the difference in string-playing style from that of modern orchestras— is the
recording of the Adagietto that Willem Mengelberg made with the Concertgebouw
Orchestra of Amsterdam in 1926 (for a while available on budget-priced Naxos, with
additional selections by Strauss, Wagner, and Humperdinck).

Finally, of special interest, an extraordinary document in sound: in November 1905, Mahler
"recorded" four pieces of his music on piano rolls for the Welte-Mignon player-piano
system, including piano transcriptions of the first movement of his Symphony No. 5;
"Das himmlische Leben" (the finale of the Fourth Symphony); "Ging heut' morgen ubers
Feld" from his Songs of a Wayfarer, and his early song "Ich ging mit Lust durch einen
grunen Wald." If you can find it, these were issued on the compact disc "Mahler Plays
Mahler: The Welte-Mignon Piano Rolls," produced by Gilbert Kaplan some years ago for
Golden Legacy Recorded Music (IMP Classics). That disc also included repetitions of the
first three pieces with the vocal lines performed by present-day singers Yvonne Kenny
and Claudine Carlson, in the belief that Mahler may have intended the piano rolls to be
used for practice by singers, and it was filled out with a half-hour oral history, "Remem-
bering Mahler," incorporating reminiscences taped in the early 1960s by people associated
with the composer, including the composer's daughter Anna and musicians who played
under him in Vienna and New York.

Marc Mandel

WEEK 2 READ AND HEAR MORE 73

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Arthur I. Segel and Patti B. Saris • Kristin and Roger Servison •

Ruth and Carl J. Shapiro ■ Miriam Shaw Fund •

Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith •

Sony Corporation of America • State Street Corporation ■ Thomas G. Sternberg •

Dr. Nathan B. and Anne P. Talbot t • Caroline and James Taylor •

Diana O. Tottenham • The Wallace Foundation • Roberta and Stephen R. Weiner •

The Helen F. Whitaker Fund • Mr. and Mrs. John Williams •

Estate of Mrs. Helen Zimbler • Anonymous (8)

Deceased

WEEK 2 THE GREAT BENEFACTORS ( 75

&^ The Higginson Society

JOHN LODER, CHAIR boston symphony orchestra annual funds
GENE D. DAHMEN, CO-CHAIR symphony annual fund
JEFFREY E. MARSHALL, CO-CHAIR symphony Aannual fund

For more information about joining the Higginson Society, contact Allison Cooley Associate Director
of Society Giving, at (617) 638-9254 or acooley@bso.org.

rThis symbol denotes a deceased donor.

VIRTUOSO $50,000 to 99,999

Peter and Anne Brooke ■ Ted and Debbie Kelly • John S. and Cynthia Reed •
Mrs. Joan T. Wheeler t

ENCORE $25,000 to 49,999

Mr. and Mrs. George D. Behrakis ■ Gregory E. Bulger Foundation/

Gregory Bulger and Richard Dix • Cynthia and Oliver Curme •

Alan J. and Suzanne W. Dworsky • Mr. Alan Dynner • William and Deborah Elfers •

Mr. and Mrs. Steven S. Fischman • Joy Gilbert, in memory of Richard Gilbert •

Mr. and Mrs. Amos B. Hostetter, Jr. • Mr. and Mrs. Stephen R. Karp • Mrs. Edward Linde ■

Elizabeth W. and John M. Loder • Richard and Nancy Lubin • Mr. and Mrs. Jeffrey E. Marshall

Carmine A. and Beth V. Martignetti • Mrs. August R. Meyer ■ Robert J. Morrissey •

Megan and Robert O'Block • William and Lia Poorvu • Mr. Irving W. Rabb •

Louise C. Riemer • Susan and Dan Rothenberg • Patti Saris and Arthur Segel •

Richard A. and Susan F. Smith • Stephen and Dorothy Weber •

Roberta and Stephen R. Weiner • Linda M. and D. Brooks Zug • Anonymous

MAESTRO $15,000 to 24,999

Alii and Bill Achtmeyer • Harlan and Lois Anderson • Dorothy and David Arnold •

Joan and John Bok • Mr. and Mrs. John M. Bradley • Alan S. and Lorraine D. Bressler ■

Samuel B. and Deborah D. Bruskin • Paul and Catherine Buttenwieser •

Ronald and Ronni Casty • John F. Cogan, Jr., and Mary L. Cornille • John and Diddy Cullinane

Dr. and Mrs. Philip D. Cutter • Robert and Evelyn Doran • Julie and Ronald M. Druker •

Tom and Jody Gill • Thelma and Ray Goldberg • Roberta Goldman •

Mrs. Francis W. Hatch, Jr. • Mr. and Mrs. Brent L. Henry • Paul L. King •

Lizbeth and George Krupp • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Kate and Al Merck •

Ann Merrifield and Wayne Davis ■ Mr. and Mrs. Frank Pao • Mr. and Mrs. Daniel Pierce •

Carole and Edward I. Rudman • Mr. Benjamin Schore • Kristin and Roger Servison •

Rick and Terry Stone • Drs. Christoph and Sylvia Westphal • Robert and Roberta Winters •

Anonymous (2)

PATRON $10,000 to 14,999

Amy and David Abrams ■ Mr. David and Dr. Sharman Altshuler • Ms. Lucille M. Batal •

Gabriella and Leo Beranek • George and Roberta Berry • Ms. Ann Bitetti and Mr. Doug Lober •

Mrs. Linda Cabot Black • Mark G. and Linda Borden • William David Brohn ■

Eleanor L. Campbell and Levin H. Campbell • Mr. Joseph M. Cohen • Dr. Lawrence H. Cohn and

Roberta Cohn • Mrs. William H. Congleton • Lewis S. and Edith L. Dabney •

Mr. and Mrs. Miguel de Braganca • Roger and Judith Feingold • Larry and Atsuko Fish •

Laurel E. Friedman • Carol and Robert Henderson • Susan Hockfield and Thomas N. Byrne •

Ms. Emily C. Hood • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Stephen B. Kay and

Lisbeth Tarlow • Kingsbury Road Charitable Foundation ■ Farla Krentzman •

Pamela Kunkemueller • Anne R. Lovett and Stephen G. Woodsum • John Magee •

Dr. and Mrs. Joseph B. Martin • Dr. Robert and Jane B. Mayer • Ms. Sandra O. Moose •

Richard P. and Claire W. Morse Foundation • Mrs. Robert B. Newman ■

Jane and Neil Pappalardo • Drs. Joseph J. and Deborah M. Plaud • John and Susanne Potts •

William and Helen Pounds • Linda and Laurence t Reineman • Debbie and Alan Rottenberg ■

Maureen and Joe Roxe/The Roxe Foundation • Mr. and Mrs. Douglas H. Sears •

Ruth and Carl J. Shapiro • Ms. Eileen C. Shapiro and Dr. Reuben Eaves •

Mr. and Mrs. Christopher Smallhorn ■ Ray and Maria Stata • Thomas G. Sternberg •

Tazewell Foundation • Mr. and Mrs. Stephen G. Traynor • Mr. and Mrs. David C. Weinstein ■

James Westra • Joan D. Wheeler ■ Drs. Richard and Judith Wurtman • Anonymous (2)

SPONSORS $5,000 to 9,999

Dr. and Mrs. Noubar Afeyan • Vernon R. Alden ■ Joel and Lisa Schmid Alvord •

Mr. and Mrs. Walter Amory • Diane M. Austin and Aaron J. Nurick •

Mr. and Mrs. Sherwood E. Bain • Judith and Harry Barr • Roz and Wally Bernheimer •

Brad and Terrie Bloom • Joanne and Timothy Burke • Mr. Charles Christenson ■

Mrs. Abram T. Collier • Marvin and Ann Collier ■ Mr. Eric D. Collins and

Mr. Michael Prokopow • Don and Donna Comstock • Howard Cox •

Mr. and Mrs. Albert M. Creighton, Jr. • Mrs. Bigelow Crocker • Joan P. and Ronald C. Curhan •

The Curvey Family Foundation • Gene and Lloyd Dahmen • Tamara P. and Charles H. Davis II •

Lori and Paul Deninger • Charles and JoAnne Dickinson • Mr. and Mrs. Philip J. Edmundson •

Mrs. Priscilla Endicott ■ Pamela D. Everhart • Shirley and Richard Fennell ■ Mr. John Gamble •

Beth and John Gamel • David Endicott Gannett • Jane and Jim Garrett •

Mrs. Bernice B. Godine • Mr. and Mrs. Mark Goldweitz • Mr. and Mrs. Raymond C. Green •

Mr. and Mrs. Ulf B. Heide • Mr. and Mrs. Richard D. Hill • Mr. John Hitchcock -

Patricia and Galen Ho • Mr. and Mrs. Charles Hood • Mr. Timothy P. Home •

WEEK 2 THE HIGGINSON SOCIETY ( 77

Yuko and Bill Hunt ■ Mimi and George Jigarjian • Holly and Bruce Johnstone ■

Jerry and Darlene Jordan • Edna S. and Bela T. Kalman ■ Mr. and Mrs. Michael L. Keiser •

Mr. David Kendall t and Ms. Nancy F. Smith • Seth A. and Beth S. Klarman •

Mr. Andrew Kotsatos and Ms. Heather Parsons • Mrs. Barbara N. Kravitz •

Mr. and Mrs. Peter E. Lacaillade • Mr. and Mrs. Charles Larkin • Mr. and Mrs. David S. Lee •

Christopher and Laura Lindop • Nancy Lurie Marks Family Foundation •

Mr. and Mrs. Marc Mayer • JoAnn McGrath • Robert and Dale Mnookin •

Mr. and Mrs. Paul M. Montrone • Lucia B. Morrill Charitable Foundation • William A. Oates •

Annette and Vincent O'Reilly • Jay and Eunice Panetta • Dr. and Mrs. Maurice Pechet ■

Mr. and Mrs. E. Lee Perry • Ann M. Philbin • Dr. and Mrs. Irving H. Plotkin •

Mr. and Mrs. Jonathan Poorvu • Dr. Tina Young Poussaint and Dr. Alvin Poussaint •

Walter and Karen Pressey • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff •

Peter and Suzanne Read • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer •

Lisa and Jonathan Rourke • Mrs. George R. Rowland • Sean Rush and Carol C. McMullen •

Mr. and Mrs. Grant Schaumberg • Ms. Lynda Anne Schubert • Linda and Arthur Schwartz •

Mr. and Mrs. Robert G. Scully • Mr. Marshall H. Sirvetz • Gilda and Alfred Slifka •

Mrs. Fredrick J. Stare ■ Mr. and Mrs. David Stokkink • Patricia Hansen Strang •

Patricia L. Tambone • Mr. and Mrs. Theodore H. Teplow • Mr. and Mrs. Mark D. Thompson •

Mrs. Blair Trippe • Robert A. Vogt ■ Gail and Ernst von Metzsch • Eric and Sarah Ward •

Mr. and Mrs. Harvey A. Wartosky • Mrs. Charles H. Watts II • Harry and Ruth Wechsler •

Mrs. John J. Wilson • Jay A. Winsten and Penelope J. Greene • Frank Wisneski •

Rhonda and Michael J. Zinner, M.D. • Anonymous (10)

MEMBERS $3,000 to 4,999

Mrs. Herbert Abrams ■ Barbara Adams • Bob and Pam Adams • Mr. James E. Aisner •

Mr. and Mrs. Stephen Anthony • Mariann and Mortimer Appley ■ Marjorie Arons-Barron and

James H. Barron • Mr. and Mrs. Laurence Asquith • Dr. Lloyd Axelrod •

Sandy and David Bakalar • Mrs. Hope Lincoln Baker • Dr. and Mrs. Peter A. Banks •

John and Molly Beard • Deborah Davis Berman and William H. Berman •

Leonard and Jane Bernstein • Bob and Karen Bettacchi • Mr. and Mrs. Philip W. Bianchi ■

Mr. and Mrs. Jordan Birger ■ Mrs. Stanton L. Black • Mr. and Mrs. Stephen P. Bradley •

Gertrude S. Brown • Drs. Andrea and Brad Buchbinder • Dr. Matthew Budd and

Ms. Rosalind Gorin ■ Mrs. Winifred B. Bush • Mr. and Mrs. Kevin T. Callaghan ■

Mr. and Mrs. Dan Ciampa • Mr. and Mrs. Ronald C. Clark • Mr. and Mrs. Frederic M. Clifford ■

Mr. Stephen E. Coit • Mrs. I. W. Colburn ■ Loring and Katinka Coleman •

Dr. Charles L. Cooney and Ms. Peggy Reiser • Mrs. John L. Cooper • Mr. Ernest Cravalho and

Ms. Ruth Tuomala • Mr. and Mrs. William M. Crozier, Jr. • Joanna Inches Cunningham •

Robert and Sara Danziger • Drs. Anna L. and Peter B. Davol • Mr. John Deutch •

Nina L. and Eugene B. Doggett • Robert Donaldson and Judith Ober • Mr. David L. Driscoll •

Mrs. Harriett M. Eckstein ■ Dr. and Mrs. Richard H. Egdahl • Mrs. Betty M. Ellis •

Mrs. Richard S. Emmet • Mr. Romeyn Everdell • Ziggy Ezekiel and Suzanne Courtright Ezekiel

Dr. and Mrs. Melvin D. Field ■ Mr. and Mrs. Reginald Foster ■ Robert C. and Velma Frank ■

Myrna H. and Eugene M. Freedman • Mr. Martin Gantshar ■ Mr. and Mrs. M. Dozier Gardner

Rose and Spyros Gavris • Arthur and Linda Gelb • Ms. Pamela Ormsbee Giroux •

Mr. and Mrs. Robert Glauber • Randy and Stephen Goldberger ■ Jordan and Sandy Golding •

Adele and Arnold Goldstein • Mr. and Mrs. Robert S. Green • Mr. and Mrs. Daniel S. Gregory ■

The Rt. Rev. and Mrs. J. Clark Grew • David and Harriet Griesinger •

Mr. and Mrs. Graham Gund • The Hagan Family Fund • Margaret L. Hargrove •

Ellen and John Harris • Deborah Hauser • Dr. Edward Heller, Jr. ■ Mr. Gardner C. Hendrie and

Ms. Karen J. Johansen • Mrs. Nancy R. Herndon • Mr. James G. Hinkle and Mr. Roy Hammer •

Mr. Albert A. Holman III and Susan P. Stickells • Judith S. Howe • G. Lee and Diana Y. Humphrey

Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Cerise and Charles Jacobs •

Ms. Joan B. Kennedy • Mrs. Thomas P. King • Mrs. Mary S. Kingsbery •

Gordon and Mary Ford Kingsley • Mrs. Barbara Kirchheimer • Dr. Nancy Koehn ■

Susan G. Kohn • Mrs. Diane Krane • Mr. Melvin Kutchin ■ Mr. and Mrs. Benjamin H. Lacy •

Mr. and Mrs. Robert A. Lawrence • Cynthia and Robert J. Lepofsky • Mr. and Mrs. Don LeSieur

Mr. and Mrs. Alexander M. Levine • Brenda G. Levy • Emily Lewis • Mrs. Augustus P. Loring t .

Mrs. Satoru Masamune • Marcia Marcus and J. Richard Klein ■ Dan Mathieu and Tom Potter

Dr. and Mrs. John D. Matthews • Michael and Rosemary McElroy ■ Kurt and Therese Melden

Mrs. Elliot Mishara • Robert and Jane Morse • Ms. Kristin A. Mortimer • Anne J. Neilson •

Ms. Cornelia G. Nichols • Mr. and Mrs. Rodger P. Nordblom ■ Richard and Kathleen Norman •

Mr. and Mrs. Geoffrey Nunes • Mr. and Mrs. Robert T O'Connell •

Mr. and Mrs. Gerald F. O'Neil • Mr. and Mrs. John A. Perkins • Drs. James and Ellen Perrin •

Ms. Margaret Philbrick and Mr. Gerald Sacks • Wendy C. Philbrick •

Mr. and Mrs. Nicholas J. Philopoulos • Ms. Joyce Plotkin and Bennett Aspel, M.D. •

Ms. Josephine Pomeroy • Elizabeth F. Potter and Joseph Bower • Ms. Helen C. Powell •

Professor Michael C. J. Putnam • Robert and Sally Quinn • James and Melinda Rabb •

Dr. Jane M. Rabb ■ Helen and Peter Randolph ■ Dr. Douglas Reeves • Mr. John S. Reidy ■

Robert and Ruth Remis • Dr. and Mrs. George B. Reservitz • Howard and Sharon Rich •

Kennedy P. and Susan M. Richardson • Dr. Robin S. Richman and Dr. Bruce Auerbach •

Marcia A. Rizzotto ■ Judith and David Rosenthal • Dean and Mrs. Henry Rosovsky •

Mr. and Mrs. Thomas A. Rosse • William and Kathleen Rousseau • Arnold Roy •

Arlene and David T Rubin • Jordan S. Ruboy, M.D. • Stephen and Eileen Samuels •

Roger and Norma Saunders • Betty and Pieter Schiller • Mr. and Mrs. Marvin G. Schorr •

David and Marie Louise Scudder • Robert E. Scully, M.D. • Ms. Carol P. Searle and

Mr. Andrew J. Ley • Mr. and Mrs. Joseph D. Spound • Mr. and Mrs. George R. Sprague •

Maximilian and Nancy Steinmann • Fredericka and Howard Stevenson ■

Mr. and Mrs. Galen L. Stone • Mr. Henry S. Stone • Mrs. Carolyn H. Sullivan and

Mr. Patrick J. Sullivan • Mr. and Mrs. Joseph Swiniarski • Jeanne and John Talbourdet •

Richard S. Taylor • Mr. John L. Thorndike • Mr. and Mrs. Richard K. Thorndike III •

Mr. and Mrs. W. Nicholas Thorndike • Mr. and Mrs. Samuel Thome •

Marian and Dick Thornton • Dr. Magdalena Tosteson • Diana O. Tottenham • Marc Ullman •

Herbert W. Vaughan ■ Mrs. Martha Hayes Voisin • Mr. and Mrs. Mark Volpe •

Eileen and Michael Walker • Nancy T Watts • Matt and Susan Weatherbie •

Mrs. John W. White ■ Mrs. Mary Wilkinson-Greenberg ■ Rosalyn Kempton Wood •

Chip and Jean Wood • Dr. and Mrs. Nicholas T Zervas • Anonymous (10)

WEEK 2 THE HIGGINSON SOCIETY ( 79

Next Program...

Wednesday, October 20, 7:30pm (Open Rehearsal)
Thursday, October 21, 8pm
Friday, October 22, 1:30pm
Saturday, October 23, 8pm
Tuesday, October 26, 8pm

MARCELO LEHNINGER conducting

BARBER OVERTURE TO "THE SCHOOL FOR SCANDAL," OPUS 5

BEETHOVEN VIOLIN CONCERTO IN D, OPUS 6l

Allegro ma non troppo

Larghetto

Rondo

PINCHAS ZUKERMAN

TCHAIKOVSKY

{INTERMISSION}

SYMPHONY NO. 5 IN E MINOR, OPUS 64

Andante— Allegro con anima

Andante cantabile, con alcuna licenza

Valse: Allegro moderato

Finale: Andante maestoso— Allegro vivace—

Moderato assai e molto maestoso

PRE-CONCERT TALKS BY BSO DIRECTOR OF PROGRAM PUBLICATIONS MARC MANDEL
(OCTOBER 20, 22) AND BOSTON UNIVERSITY-BASED CONDUCTOR AMY LIEBERMAN
(OCTOBER 21, 23, 26)

The young Brazilian conductor Marcelo Lehninger, who is one of the BSO's two new assistant
conductors for this season, makes his debut with the orchestra in these concerts. He is joined by
celebrated violinist Pinchas Zukerman for Beethoven's majestic and lyrical Violin Concerto. Samuel
Barber's characterful School for Scandal Overture— inspired by the English dramatist Richard
Sheridan's 18th-century comedy— was his first publicly performed orchestral work and a great
success for the twenty-one-year-old composer. Anchoring the program is Tchaikovsky's broad,
Romantic, dramatic Symphony No. 5, one of the most popular in the repertoire.

Coining Concerts...

Sunday, October 17, 3pm

Jordan Hall, New England Conservatory

BOSTON SYMPHONY CHAMBER PLAYERS

with ANDRE PREVIN, piano

MARTINU

PREVIN

MILHAUD

MOZART

Les Madrigaux for oboe, clarinet,

and bassoon

Octet for Eleven, for flute, oboe,

clarinet, bassoon, horn, trumpet,

two violins, viola, cello, and

double bass (world premiere;

BSO commission)

La Cheminee du Roi Rene, for

wind quintet, Op. 205

Piano Quartet in G minor, K.478

Wednesday, October 20, 7:30pm (Open Rehearsal)
Thursday 'C October 21, 8-10:10

Friday 'A' October 22, 1:30-3:40

Saturday 'B' October 23, 8-10:10

Tuesday 'C October 26, 8-10:10

MARCELO LEHNINGER, conductor
PINCHAS ZUKERMAN, violin

barber Overture to The School for Scandal

BEETHOVEN Violin Concerto

Tchaikovsky Symphony No. 5

Thursday 'B'
Friday 'B'
Saturday 'B'
Tuesday 'B'

October 28, 8-10
October 29, 1:30-3:30
October 30, 8-10
November 2, 8-10

DAVID ROBERTSON, conductor
NICOLAS HODGES, piano

BRAHMS Tragic Overture

ADAMS Doctor Atomic Symphony

PROKOFIEV Piano Concerto No. 2

BARTOK Suite from The Miraculous Mandarin

Thursday, November 4, 10:30am (Open Rehearsal)
Thursday 'D' November 4, 8-9:55

Friday Evening November 5, 8-9:55

Saturday 'A' November 6, 8-9:55

Tuesday 'C November 9, 8-9:55

RAFAEL FRUHBECK DE BURGOS, conductor
ALEXANDRA COKU, soprano
NATHALIE STUTZMANN, contralto

KYLE KETELSEN, bass-baritone
RYAN WILLIAMS, boy soprano

TANGLEWOOD FESTIVAL CHORUS,

JOHN OLIVER, conductor

FALLA Suite from Atlantida

BRAHMS Symphony No. 2

massculturalcouncil.org

Programs and artists subject to change.

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the
Symphony Hall box office, online at bso.org, or by calling "SymphonyCharge" at (617) 266-1200 or toll free
at (888) 266-1200, Monday through Friday from 10 a.m. until 6 p.m. (Saturday from 12 noon until 6 p.m.)
Please note that there is a $5.50 handling fee for each ticket ordered by phone or over the internet.

WEEK 2 COMING CONCERTS

Symphony Hall Exit Plan

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Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program
information, call "C-O-N-C-E-R-T" (266-2378).

The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the
Symphony Hall West Entrance on Huntington Avenue.

For Symphony Hall rental information, call (617) 638-9240, or write the Director of Event Services, Symphony
Hall, Boston, MA 02115.

To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash
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can also be purchased online. There is a handling fee of $5.50 for each ticket ordered by phone or online.

In consideration of our patrons and artists, children four years old or younger will not be admitted to Boston
Symphony Orchestra concerts.

WEEK 2 SYMPHONY HALL INFORMATION